How have we thought “the body”? How can we think it anew? The body of mortal creatures, the body politic, the body of letters and of laws, the “mystical body of Christ”—all these (and others) are incorporated in the word Corpus, the title and topic of Jean-Luc Nancy’s masterwork. Corpus is a work of literary force at once phenomenological, sociological, theological, and philosophical in its multiple orientations and approaches. In thirty-six brief sections, Nancy offers us at once an encyclopedia and a polemical program—reviewing classical takes on the “corpus” from Plato, Aristotle, and Saint Paul to Descartes, Hegel, Husserl, and Freud, while demonstrating that the mutations (technological, biological, and political) of our own culture have given rise to the need for a new understanding of the body. He not only tells the story of this cultural change but also explores the promise and responsibilities that such a new understanding entails. The long-awaited English translation is a bold, bravura rendering. To the title essay are added five closely related recent pieces—including a commentary by Antonia Birnbaum—dedicated in large part to the legacy of the “mind-body problem” formulated by Descartes and the challenge it poses to rethinking the ancient problems of the corpus. The last and most poignant of these essays is “The Intruder,” Nancy’s philosophical meditation on his heart transplant. The book also serves as the opening move in Nancy’s larger project called “The deconstruction of Christianity.”
A beautiful, profound series of reflections on the body by one of the most prominent and consequential philosophers of continental Europe This landmark volume brings into English Jean-Luc Nancy’s last completed work and concludes his remarkable philosophical reflections on the body, a project he began almost thirty years ago. Taking the body as an intersection of pulsing life and destructive cruelty on a global scale, Nancy’s account becomes more vivid, more physical, than ever, even as it ventures into language that is as lyrical as it is profound. This vividness is manifest in blood: as it flows, in all its pulsing and forceful circulation, and as it spills, in the cruelty of existences confronted daily by countless destructions. This can be described as sanguis and cruor, the two Latin words for blood’s intermingled but distinct aspects. This distinction allows Nancy to highlight an almost mystical sense of the body (yet one that remains soberly on this side of its manifest insistence), alongside the cruelty that pervades our world—a world whose very existence is threatened by its reduction to mere objects. The exceptional writings brought together in Corpus III comprise a masterful work of philosophy that marries rigorous erudition—on Freud, Nietzsche, and others—with rich poetic language and an actual poem. Nancy’s thought opens the body onto its own unaccountable origins, its plural singularities, its enmeshed instantiations, and its excessive irreducibles, which are also the elusive excesses of language. Whereas in earlier texts Nancy has referred to this excess as poetry, here he performs it in the form of a poem, in the extraordinary hymn entitled Stoma. While the publication of a poem by Nancy is a notable event, equally noteworthy is a remarkable essay entitled “Scandalous Death,” in which Nancy meditated on a subject that was to come to him too soon after. Above all, the book is crucial for bringing into English Cruor, the very last book Nancy completed before his death, an evocative meditation offered by a great thinker on the complex conditions of his own—and our—singular survival.
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.
In the past, pandemics were considered divine punishment, but we now understand the biological characteristics of viruses and we know they are spread through social interaction. What used to be divine has become human – all too human, as Nietzsche would say. But while the virus dispels the divine, we are discovering that living beings are more complex and harder to define than we had previously imagined, and also that political power is more complex than we may have thought. And this, argues Nancy, helps us to see why the term ‘biopolitics’ fails to grasp the conditions in which we now find ourselves. Life and politics challenge us together. Our scientific knowledge tells us that we are dependent only on our own technical power, but can we rely on technologies when knowledge itself includes uncertainties? If this is the case for technical power, it is much more so for political power, even when it presents itself as guided by objective data. The virus is a magnifying glass that reveals the contradictions, limitations and frailties of the human condition, calling into question as never before our stubborn belief in progress and our hubristic sense of our own indestructibility as a species.
Christian parables have retained their force well beyond the sphere of religion; indeed, they share with much of modern literature their status as a form of address: Who hath ears to hear, let him hear.There is no message without there first being-or, more subtly, without there also being in the message itself-an address to a capacity or an aptitude for listening. This is not an exhortation of the kind Pay attention!Rather, it is a warning: if you do not understand, the message will go away.The scene in the Gospel of John in which the newly risen Christ enjoins the Magdalene, Noli me tangere,a key moment in the general parable made up of his life, is a particularly good example of this sudden appearance in which a vanishing plays itself out. Resurrected, he speaks, makes an appeal, and leaves.Do not touch me.Beyond the Christ story, this everyday phrase says something important about touching in general. It points to the place where touching must not touch in order to carry out its touch (its art, its tact, its grace). The title essay of this volume is both a contribution to Nancy's project of a deconstruction of Christianityand an exemplum of his remarkable writings on art, in analyses of Noli me tangerepaintings by such painters as Rembrandt, Drer, Titian, Pontormo, Bronzino, and Correggio. It is also in tacit dialogue with Jacques Derrida's monumental tribute to Nancy's work in Le toucher-Jean-Luc Nancy.For the English-language edition, Nancy has added an unpublished essay on the Magdalene and the English translation of In Heaven and on the Earth,a remarkable lecture he gave in a series designed to address children between six and twelve years of age. Closely aligned with his entire project of the deconstruction of Christianity,'this lecture may give the most accesible account of his ideas about God.
This book is a profound and eagerly anticipated investigation into what is left of a monotheistic religious spirit—notably, a minimalist faith that is neither confessional nor credulous. Articulating this faith as works and as an objectless hope, Nancy deconstructs Christianity in search of the historical and reflective conditions that provided its initial energy. Working through Blanchot and Nietzsche, re-reading Heidegger and Derrida, Nancy turns to the Epistle of Saint James rather than those of Saint Paul, discerning in it the primitive essence of Christianity as hope. The “religion that provided the exit from religion,” as he terms Christianity, consists in the announcement of an end. It is the announcement that counts, however, rather than any finality. In this announcement there is a proximity to others and to what was once called parousia. But parousia is no longer presence; it is no longer the return of the Messiah. Rather, it is what is near us and does not cease to open and to close, a presence deferred yet imminent. In a demystified age where we are left with a vision of a self-enclosed world—in which humans are no longer mortals facing an immortal being, but entities whose lives are accompanied by the time of their own decline—parousia stands as a question. Can we venture the risk of a decentered perspective, such that the meaning of the world can be found both inside and outside, within and without our so-immanent world? The deconstruction of Christianity that Nancy proposes is neither a game nor a strategy. It is an invitation to imagine a strange faith that enacts the inadequation of life to itself. Our lives overflow the self-contained boundaries of their biological and sociological interpretations. Out of this excess, wells up a fragile, overlooked meaning that is beyond both confessionalism and humanism.
Heidegger and Nazism: Ever since the philosopher’s public involvement in state politics in 1933, his name has necessarily been a part of this unsavory couple. After the publication in 2014 of the private Black Notebooks, it is now unambiguously part of another: Heidegger and anti-Semitism. What do we learn from analyzing the anti-Semitism of these private writings, together with its sources and grounds, not only for Heidegger’s thought, but for the history of the West in which this thought is embedded? Jean-Luc Nancy poses these questions with the depth and rigor we would expect from him. In doing so, he does not go lightly on Heidegger, in whom he finds a philosophical and “historial” anti-Semitism, outlining a clash of “peoples” that must at all costs arrive at “another beginning.” If Heidegger’s uncritical acceptance of prejudices and long-debunked myths about “world Jewry” shares in the “banality” evoked by Hannah Arendt, this does nothing to lessen the charge. Nancy’s purpose, however, is not simply to condemn Heidegger but rather to invite us to think something to which the thinker of being remained blind: anti-Semitism as a self-hatred haunting the history of the West—and of Christianity in its drive toward an auto-foundation that would leave behind its origins in Judaism.
Coming by Jean-Luc Nancy is a lyrical examination of the French notion of jouissance. How did jouissance evolve from referring to the pleasure of ownership to the pleasure of orgasm? The philosophers Adèle van Reeth and Jean-Luc Nancy engage in a lively dialogue touching on authors as varied as Spinoza, the Marquis de Sade, and Henry Miller, and on subjects ranging from consumerism to mysticism.
This collection of writings by the renowned French critic and poet Jean-Luc Nancy delves into the history of philosophy in order to locate a fundamentally poetic modus operandi, representing a mix of philosophical essays, writings about artworks and the author's own artistic creations.
A collection of essays (the first appearing in 2001, the second and third, appearing in expanded form (the form translated here) in 2006), translated into English.
When Jean-Luc Nancy first encountered the work of Jacques Derrida in the 1960s, he knew he was hearing something new, a voice genuinely of its time. Thinking with and against each other over the course of their long friendship, the two thinkers reshaped the European intellectual landscape. Nancy’s writings on Derrida, collected in this volume, reflect on the elements of their shared concerns with politics, the arts, religion, the fate of deconstruction, and the future of sense. Rather than studies, commentaries, or interpretations of Derrida’s thought, they are responses to his presence—not exactly a presence to self, but a presence in the world.
Is there a "world" anymore, let alone any "sense" to it? Acknowledging the lack of meaning in our time, and the lack of a world at the center of meanings we try to impose, Jean-Luc Nancy presents a rigorous critique of the many discourses -- from philosophy and political science of psychoanalysis and art history -- that talk and write their way around these gaping absences in our lives. In an original style befitting his search for a new mode of thought, Nancy offers fragmentary readings of writers such as Nietzsche, Hegel, Marx, Levinas, Lacan, Derrida, and Deleuze insofar as their work reflects his concern with sense and the world. Rather than celebrate or bemoan the loss of meaning, between objectivity and subjectivity. Nancy's project entails a reconception of the field of philosophy itself, a rearticulation of philosophical practice. Neither recondite nor abstract it is concerned with the existence and experience of freedom -- the actuality of existence as experienced by contemporary communities of citizens, readers, and writers. Combining aesthetic, political, and philosophical considerations to convey a sense of the world between meaning and reality, ideal content and material form, this book offers a new way of understanding -- and responding to -- "the end of the world".
In eleven brief, engaging talks originally broadcast on French public radio, Jean-Luc Nancy offers a philosopher’s rough and ready account of some of the pressing questions of our day and addresses chronic issues within philosophical inquiry. The fundamental question, which recurs again and again, is whether philosophy is conditioned by the world the philosopher inhabits, or whether it must remain unconditioned by that world. Nancy discusses: terror in relation to religion and capitalism; the relevance of philosophy to life (whether philosophy can be a form of life); the status of god in monotheism; the relevance of “politics” as it is defined today; the “Heidegger affair” and its consequences for philosophy; war, especially in the context of the invasion of Iraq; the role of negativity in philosophical and cultural discourses; “art” and the variability of its meanings; the predominance of the metaphor of the sun. The essays can be read separately, but together they amount to the striking vision of a philosopher sensitive to the world of his times and attempting to open his own path within it.
Over thirty years after Maurice Blanchot writes The Unavowable Community (1983)—a book that offered a critical response to an early essay by Jean-Luc Nancy on “the inoperative community”—Nancy responds in turn with The Disavowed Community. Stemming from Jean-Christophe Bailly’s initial proposal to think community in terms of “number” or the “numerous,” and unfolding as a close reading of Blanchot’s text, Nancy’s new book addresses a range of themes and motifs that mark both his proximity to and distance from Blanchot’s thinking, from Bataille’s “community of lovers” to the relation between community, communitarianism, and being-in-common; to Marguerite Duras, to the Eucharist. A key rethinking of politics and the political, this exchange opens up a new understanding of community played out as a question of avowal.
An enlightening exploration of the concept of listening and the evolving role of the listener from Beethoven to Charlie Parker to contemporary remixing. In this intimate meditation on listening, Peter Szendy examines what the role of the listener is, and has been, through the centuries. The roles of the composer and the musician are clear, but where exactly does the listener stand in relation to music? What is the responsibility of the listener? Does a listener have any rights, as the author and composer have copyright? Is it possible to convey to others how we ourselves listen to music? Though personal memory and intellectual history, Szendy takes readers on a fascinating and ear-opening journey to answer these questions. Along the way, he examines the evolution of copyright laws as applied to musical works and takes us into the courtroom to examine different debates on what we are and aren’t allowed to listen to, and to witness the fine line between musical borrowing and outright plagiarism. Finally, he examines the recent phenomenon of DJs and digital compilations, and wonders how technology has affected our listening habits.
Jean-Luc Nancy's probing analysis of art and the sensible presentation of an idea examines why there are several arts and not just one. He uses Hegel's conclusions in Aesthetics and the Phenomenology of Spirit as support for his theory.
Philosophers have largely ignored sleep, treating it as a useless negativity, mere repose for the body or at best a source for the production of unconscious signs out of the night of the soul. In an extraordinary theoretical investigation written with lyric intensity, The Fall of Sleep puts an end to this neglect by providing a deft yet rigorous philosophy of sleep. What does it mean to "fall" asleep? Might there exist something like a "reason" of sleep, a reason at work in its own form or modality, a modality of being in oneself, of return to oneself, without the waking "self" that distinguishes "I" from "you" and from the world? What reason might exist in that absence of ego, appearance, and intention, in an abandon thanks to which one is emptied out into a non-place shared by everyone? Sleep attests to something like an equality of all that exists in the rhythm of the world. With sleep, victory is constantly renewed over the fear of night, an a confidence that we will wake with the return of day, in a return to self, to us--though to a self, an us, that is each day different, unforeseen, without any warning given in advance. To seek anew the meaning stirring in the supposed loss of meaning, of consciousness, and of control that occurs in sleep is not to reclaim some meaning already familiar in philosophy, religion, progressivism, or any other -ism. It is instead to open anew a source that is not the source of a meaning but that makes up the nature proper to meaning, its truth: opening, gushing forth, infinity. This beautiful, profound meditation on sleep is a unique work in the history of phenomenology--a lyrical phenomenology of what can have no phenomenology, since sleep shows itself to the waking observer, the subject of phenomenology, only as disappearance and concealment.
First published in 1979 but never available in English until now, Ego Sum challenges, through a careful and unprecedented reading of Descartes’s writings, the picture of Descartes as the father of modern philosophy: the thinker who founded the edifice of knowledge on the absolute self-certainty of a Subject fully transparent to itself. While other theoretical discourses, such as psychoanalysis, have also attempted to subvert this Subject, Nancy shows how they always inadvertently reconstituted the Subject they were trying to leave behind. Nancy’s wager is that, at the moment of modern subjectivity’s founding, a foundation that always already included all the possibilities of its own exhaustion, another thought of “the subject” is possible. By paying attention to the mode of presentation of Descartes’s subject, to the masks, portraits, feints, and fables that populate his writings, Jean-Luc Nancy shows how Descartes’s ego is not the Subject of metaphysics but a mouth that spaces itself out and distinguishes itself.
The most systematic, radical, and lucid treatise on freedom that has been written in contemporary Continental philosophy, this book combats the renunciation of freedom attested in modern history by articulating the experience of freedom at work in thought itself.
This second volume in Nancy's The Deconstruction of Christianity explores the stance or bearing that would be appropriate for us now, in the wake of the dis-enclosure of religion and the retreat of God: that of adoration. Adoration is stretched out toward things, but without phenomenological intention. In our present historical time, we have come to see relation itself as the divine. The address and exclamation--the salut!--that constitutes adoration celebrates this relation: both the relation among all beings that the world is and what is beyond relation, the outside of the world that opens us in the midst of the world. A major contribution to the contemporary philosophy of religion, Adoration clarifies and builds upon not only Dis-Enclosure, the first volume in this project, but also Nancy's other previous writings on sense, the world, and the singular plurality of being.
A collection of five essays of French philosopher Nancy, originally published in 1985-86: The Inoperative Community, Myth Interpreted, Literary Communism, Shattered Love, and Of Divine Places. A paper edition (1924-7) is available for $14.95. Annotation copyrighted by Book News, Inc., Portland, OR
In this book, the philosopher Jean-Luc Nancy examines the nature of catastrophes in the era of globalization and technology. Can a catastrophe be an isolated occurrence? Is there such a thing as a "natural" catastrophe since all our technologies (nuclear energy, power supply, water supply, etc.) are necessarily implicated? Nancy examines these questions and more. Exclusive to this English edition are two interviews with Nancy conducted by Danielle Cohen-Levinas and Yuji Nishiyama and Yotetsu Tonaki.
This book is a close reading of Jacques Lacan's seminal essay, "The Agency of the Letter in the Unconscious or Reason Since Freud, " selected for the particular light it casts on Lacan's complex relation to linguistics, psychoanalysis, and philosophy. It clarifies the way Lacan renews or transforms the psychoanalytic field, through his diversion of Saussure's theory of the sign, his radicalization of Freud's fundamental concepts, and his subversion of dominant philosophical values. The authors argue, however, that Lacan's discourse is marked by a deep ambiguity: while he invents a new "language," he nonetheless maintains the traditional metaphysical motifs of systemacity, foundation, and truth.
At once an introduction to Hegel and a radically new vision of his thought, this work penetrates the entirety of the Hegelian field with brevity and precision, while compromising neither rigour nor depth.
Exploring the ever-changing philosophy of city life with Jean-Luc Nancy In The City in the Distance, Jean-Luc Nancy embarks on nothing less than a philosophy of the city. Drawing on his widely discussed accounts of sense and of the fraught question of community, Nancy views the city as the site of a disposition that is constantly undergoing metamorphoses. Far from an abstract account, Nancy attends in the most concrete way possible to the workings of a city not typically taken as paradigmatic, Los Angeles. As Jean-Christophe Bailly suggests in his foreword, Nancy joins Walter Benjamin in thinking the city not from an external vantage point, but on its own terms.
The Animal That Therefore I Am is the long-awaited translation of the complete text of Jacques Derrida's ten-hour address to the 1997 Crisy conference entitled The Autobiographical Animal, the third of four such colloquia on his work. The book was assembled posthumously on the basis of two published sections, one written and recorded session, and one informal recorded session. The book is at once an affectionate look back over the multiple roles played by animals in Derrida's work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction-dating from Descartes-between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single the animal.Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses tothe question in the work of each of them.The book's autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida's experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of man's dominion over the beastsand trace a history of how man has systematically displaced onto the animal his own failings or btises. The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of lifeto which he returned in much of his later work.
A powerful essay on identity and its fate in our contemporary world. Against various attempts to cling to established identities, Nancy shows that an identity is always open: to alterity and its transformations. Ultimately, one does not have an identity but has to become what one is, without ever returning to a same but solely to difference and singularity.
This book, by one of the most innovative and challenging contemporary thinkers, rethinks community and the very idea of the social. Nancy's fundamental argument is that being is always "being with," that "I" is not prior to "we," that existence is essentially co-existence.
Written in a direct and accessible, almost manifesto-like style, The Truth of Democracy presents a forceful plea that we rethink democracy not as one political regime or form among others but as that which opens up the very experience of being in common. --Book Jacket.
Why does anti-Semitism seem to be so deeply engrained in our societies, our institutions and our attitudes? To answer this question we need to look beyond our current practices and see that anti-Semitism has much deeper roots – that it is woven into the very structures of Western thought. Jean-Luc Nancy argues that anti-Semitism emerged from the conflictual conjunction of two responses to the eclipse of archaic cultures. The Greek and the Jewish responses both affirmed a humanity freed from myth but put forward two very different conceptions of autonomy: on the one hand, the infinite autonomy of knowledge, of logos, and on the other, the paradoxical autonomy of a heteronomy guided by a hidden god. The first excluded the second while simultaneously absorbing and dominating it; the second withdrew into itself and its condition of exclusion and domination. How could the long and terrible history of the hatred of the Jew, masking a self-loathing, be generated by these intrinsically contradictory beginnings? That is the question to which this short book gives a compelling answer.
Nancy's The Speculative Remark played a significant role in transforming the practice of philosophy away from system building to analysis of specific linguistic detail.
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