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Unveiling the Pathos of Life: The Phenomenology of Michel Henry and the Theology of John the Evangelist
Full text linkFrom the early centuries, the Evangelist John has been referred to as “the theologian.” And rightly so, for Christian theology, as we have come to know it, is inconceivable without his Gospel and especially its Prologue. Its words have provided the vocabulary for theological reflection thereafter, and it seems certain that, until the middle to the end of the second century, the annual celebration of Christ’s Passion, Pascha, was only celebrated by those who recalled how John had worn the distinctive headdress of the high priest in Jerusalem: the only disciple to remain at the foot of the cross, John was, for them, the high priest of the paschal mystery. It is thus perhaps not surprising that it was especially in John, and his words about the revelation of Christ, the Word and Life, that Michel Henry found a vision of Christianity that resonated with the phenomenology that he had been investigating from his initial magnum opus, The Essence of Manifestation, through to his final Christian trilogy: first, I Am the Truth: Towards a Philosophy of Christianity, then several years later, during which time he read Tertullian and most importantly Irenaeus, Incarnation: A Philosophy of Flesh, and finally, appearing in print posthumously, Words of Christ.
Spain and Islam Once More: Fundamentalism in Sainte Thérèse d’Avila
Full text linkJulia Kristeva\u27s Teresa, My Love: An Imagined Life of the Saint of Avila confronts us with the contemporary problem of violent forms of fundamentalism, especially Islamic, as it recreates the life of Saint Theresa. The novel\u27s psychoanalytic perspective engages our emotions and sensations, and is also therapeutic for author and reader. But most of all, it engages our thinking and deals in depth with this compelling, timely issue
A Frightful Leap into Darkness: Auto-Destructive Art and Extinction
Full text linkIn a new book titled Wild Things: Queer Theory After Nature, I develop a new critical vocabulary to access different, transdisciplinary ways of thinking about race, sexuality, alternative political imaginaries and queer futurity and extinction. Wildness in no way signals the untamed frontier, or the absence of modernity, the barbarian, the animalistic or the opposite of civilization. Rather, in a post-colonial and even de-colonizing vein, it has emerged in the last few years as a marker of a desire to return queerness to the disorder of an unsorted field of desires and drives; to the disorienting and disquieting signifying functions it once named and held in place; and to a set of activist and even pedagogical strategies that depend upon chance, randomness, surprise, entropy and that seek to counter the organizing and bureaucratic logics of the state with potential sites of ungovernability and abjection. Wildness signifies in my project in a number of different ways, but here I use the framework of “abjection” to explain some of the appeal of wildness and a few of the ways in which it expresses relations between the unnamable, the excessive, horror and death. Later on, I will turn to a set of performances and art projects that are deliberately auto destructive and that collectively imagine the end of the human
The Psychic Life: A Life in Time: Psychoanalysis and Culture
Full text linkLast year I published an autobiographical text in the form of interviews with a young psychologist entitled Je me voyage. The title’s neologism gives a nod to my foreign status in the French language which has largely determined my psychosexual positioning in research and in writing; the psychic experience has been central to my life’s trajectory (which I will not elaborate on here.) In my familial context, culture constituted a world that made life liveable —and I experienced life, due to the importance accorded to language, as survival, as an intimate resistance and an inherent creativity in social time.
Reading the Genotext in Harryette Mullen’s Muse & Drudge: “Sapphire’s lyre styles…”
Full text linkIn her early work on Modernist poetry and avant-garde poetics, Julia Kristeva proposed a bifurcated view of the poetic text as simultaneously constituted by both a “genotext” and a “phenotext.” Reading the “genotext” of any given poem might start by “pointing out the transfers of drive energy that can be detected in phonematic devices (such as the accumulation and repetition of phonemes or rhyme) and melodic devices (such as intonation or rhythm)”; and, in her words, it would also need to take into consideration “the way semantic and categorial fields are set out in syntactic and logical features.” This essay seeks to demonstrate how Harryette Mullen’s Muse & Drudge might be analyzed at the level of its genotext, taking (arbitrarily) as its primary example the first of the book’s eighty poems to illustrate how a straightforwardly genotextual analysis might proceed. The essay contends that, by closely observing the genotext of Mullen’s poetry in Muse & Drudge, one may eventually arrive at a more comprehensive understanding of the “polyvocal” and “polymorphous” nature of the language and poetic design of the poems in this enigmatic collection
Introduction: Kristeva and Race
Full text linkThe Kristeva Circle Conference of 2017 in Pittsburgh confirmed that writers throughout the world have been engaging with Julia Kristeva’s thought in large numbers and in ways relevant to “an ethics of inclusion,” the topic of the Conference. The question of race arguably came to a head at the conference when one of the founders of the Kristeva Circle, Fanny Söderbäck, commented on the paper just delivered by Kristeva via Skype, “The Psychic Life--A Life in Time: Psychoanalysis and Culture.” According to Söderbäck, we run the risk of reinforcing Islamophobic views that equate terrorism with Islam if we focus on young women intent on jihad without simultaneously addressing the behavior of white men bent on white supremacist violence and terrorism. Kristeva did not directly address the issue of her lecture’s reinforcement of Islamophobic views in her response. Instead, she spoke at some length about a patient whose confrontation with Arabic poetry led to improvement in her psychic health. I introduce the following papers in part as a dialogue with Kristeva on race and as a response to Söderbäck’s comments. The essays all make reference to questions of race and ethnicity in Kristeva’s work. They do so in ways that provoke thought on the contributions of psychoanalytic writing, appreciated and also criticized for its universalizing tendencies, which may in part explain its vulnerability to charges of racism
L’énigme du cap acéphale: Autour des parentés philosophiques entre égologie et hétérologie dans la lecture derridienne du Monsieur Teste de Valéry
Full text linkLe but de cette contribution c\u27est d\u27analyser la lecture derridienne du Monsieur Teste de Valéry afin de montrer que, par cette figure énigmatique, Derrida a voulu proposer une déconstruction double : une déconstruction de l’égologie souveraine au moyen de l’hétérologie contre-souveraine et vice-versa.
Book Review: Rockwell F. Clancy, Towards a Political Anthropology in the Work of Gilles Deleuze: Psychoanalysis and Anglo-American Literature (Leuven: Leuven University Press, 2015).
Full text linkA review of Rockwell F. Clancy, Towards a Political Anthropology in the Work of Gilles Deleuze: Psychoanalysis and Anglo-American Literature (Leuven: Leuven University Press, 2015)
Deleuze, Concepts, and Ideas about Film as Philosophy: A Critical and Speculative Re-Examination
Full text linkThis article explores the idea of film as a possible means for articulating original philosophical concepts, in Gilles Deleuze’s sense of concepts. The first of two parts, critically re-examines current ideas about film as philosophy in relation to Deleuze’s ideas on philosophy and cinema/art. It is common within the field of film-philosophy to trace back its central argument that film/cinema is capable of expressing original philosophy, to Deleuze’s cinema books. In and around these books, however, Deleuze did not express such an idea and rather underlined sharp formal differences between cinematic thinking and philosophy (however much he also described and implied proximities and similarities). Cinematic thinking takes the form, he argues, of blocks of movement/duration whereas philosophy is defined as the art of creating concepts. Still, could a close critical scrutiny of and some creativity with Deleuze’s thought allow for taking a step he did not take? The second part of the article takes on the speculative question of whether it is possible to create a notion from within Deleuze’s thought as a whole, that allows for at least the theoretical possibility of articulating original philosophical concepts – as Deleuze defines them (as a particular kind of multiplicity) – in and through film, and what this would mean for our understanding of the concrete form of concepts. The article examines Deleuze’s concept of concepts (how he defines their internal logic and by which formal means he implies that they can be articulated), his descriptions of complicating intersections between philosophy and art, some partly conflicting statements on Godard over the years, aspects of his analyses of filmic thinking in Cinema 2 that can be seen to provide preliminary components for articulating concepts in and through film, and it discusses the place and function of words and texts in such filmic articulations. If the aim of the first part is to clarify Deleuze’s positions on film and philosophy (often muddled in current film-philosophical writings) the aim of the second part resonates with the Deleuzian/Nietzschean quest for formal renewal of philosophy. The overall aim is to re-problematize and provide subtle new means for conceiving of and discussing the notion of film as philosophy
Logic of the Egotistical Sentence: A Reading of Descartes
Full text linkThis text is a translation of two extracts from Vincent Descombes\u27 2014 book Le parler de soi. The majority of the translation consists of the chapter (I.3) that Descombes dedicates to discussing Descartes extensively. In this text, Descombes analyzes “egotistical sentences,” or I-statements, beginning with the infamous example from Descartes (cogito ergo sum). From here, he develops a substantial meditation on the nature of the self and its inherent philosophical paradoxes. The “radical question” guiding Descombes is whether or not an egotistical sentence has or implies a subject in the metaphysical sense. The conclusion, ultimately supported in part by Anscombe’s work on “I-thoughts,” explains how it could be that a subject is not implied by an egotistical sentence