Pub Date : 2021-05-21DOI: 10.1080/13534645.2021.1896088
J. Ricco
In this essay I theorise edging as the spacing of an aesthesis and erotic sense of the common, distinct from any absolute finality, consummation, or end. This extends the work that I did in my first two books where, in The Logic of the Lure, I focused on aesthetic and erotic logics of attraction, and in The Decision Between Us, on aesthetic, ethical, and equally erotic, logics of decision. In the forthcoming third book in the trilogy, The Intimacy of the Outside, Not Beyond (of which a version of this essay will be a part), I focus on aesthetic and ethical scenes of departure and abandonment, all the while not losing sight of the extent to which each of these ways, paths, gestures, and movements of attraction, encounter, and departure, are intimately operative in relation to and with each other.
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Pub Date : 2021-05-21DOI: 10.1080/13534645.2021.1896086
Charles de Roche
Even though his texts do not refer to the poet as frequently as is the case with Nancy’s friend Philippe Lacoue-Labarthe, the importance of Friedrich H€ olderlin’s writing and thought for Nancy’s philosophy can hardly be overrated. As the present essay attempts to show, it is precisely the relation between writing and thought that is at stake in the two authors’ intertextual relation. To that end, the essay will deal with two of Nancy’s texts explicitly concerned with H€ olderlin, ‘Hyperion’s Joy’ and ‘The Poet’s Calculation’, as well as with the essay ‘Art, a Fragment’ from The Sense of the World. The reason for the inclusion of the latter text, which contains only one passing reference to H€ olderlin in a footnote, from the perspective of the present essay is, again, twofold: on the one hand, it can be shown that the (or ‘a’) specifically Nancean conception of the philosophical problem of unity lies at the core of his interpretation of H€ olderlin’s poetics as well as of Nancy’s own conception of the fragmentary. On the other hand, this insight invites the attempt to fill an obvious gap left by the two essays on H€ olderlin: while these are almost exclusively concerned with the philosophical implications of H€ olderlin’s poetics and – to a lesser extent, and with a stronger accent on the novel Hyperion than on the poetry – his literary writings, it appears promising to approach H€ olderlin’s specific practice of fragmentary writing, characteristic of the decisive period of his work between 1802 and 1806, in the light of Nancy’s theory of the fragmentary. The attempt to interpret H€ olderlin’s writings through and as philosophical thought, as practised in Nancy’s essays, could thus be supplemented, chiastically as it were, by highlighting the latter’s philosophical conception of the fragmentary through the study of the poet’s concrete literary and artistic practice. Of course, this cannot be done extensively within the scope of the present essay; I shall restrict myself in this respect to two examples taken from the Homburger Folioheft, a manuscript collection of fragments, and drafts of H€ olderlin’s planned cycle of poems in free rhythm, the Vaterl€ andische Ges€ ange.
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Pub Date : 2021-05-21DOI: 10.1080/13534645.2021.1896085
Naomi Waltham-Smith
In ‘Le vestige de l’art’, Nancy rejects the traditional understanding of art as the sensible representation of the Idea to develop instead the notion of the vestige as the self-withdrawal and self-effacement of the sensible. In an explicit nod to Derrida’s thought of the trace, Nancy first describes the vestige as ‘fum ee sans feu [smoke without fire]’ recalling Derrida’s Feu la cendre. At the same time, now echoing Derrida’s preoccupation after Blanchot with the homonym pas, the vestige is treated more extensively by way of the figure of the ‘footprint’. Nancy, though, as will become clear, will depart from the Derridean pas in a number of ways, not least in his attraction to Christian motifs and especially that of touch. Nancy argues that, far from indicating an essence or presence, a footprint is ‘une touche a même le sol [just a touch right at the ground]’. This same figure of liminal touch – touch as the limit and exteriority of existence – is deployed in Corpus to describe the body’s being-inscribed outside itself as exscription. Writing, for Nancy, like the vestige, is a question of touching in withdrawing from touch – in short, a question of tact. To anticipate the argument developed in the pages ahead, the footprint allows one to take the measure of the gap between Nancy’s notion of exscription and Derrida’s ecriture. Having established the link between the vestige, in tangibility, and exscription in the first part, I turn in the second to Derrida’s argument in Le toucher whereby he credits Nancy’s exscription with thinking the spacing of touch more exactly than the phenomenological tradition while nonetheless ultimately succumbing to the temptations of a certain ‘humainisme’, in the final instance, like Heidegger, still continuing to privilege the hand as that which is proper to the human. As it transpires, the subtle distinction hinges once again upon the issue of infinite finitude that has been much debated between the two of them.
在" Le vestige de l ' art "中，Nancy拒绝了传统上对艺术的理解，认为艺术是观念的感性表现，相反，她将这种观念发展为感性的自我退缩和自我淡化。在对德里达关于痕迹的思想的明确认可中，南希首先将痕迹描述为“没有火的烟”，回忆起德里达的“没有火的烟”。与此同时，现在呼应德里达在布朗肖之后的关注，用同音的方式，通过“足迹”的形象，更广泛地处理了遗迹。而南希，我们将会清楚地看到，他在很多方面都偏离了德里安的过去，尤其是他对基督教主题的吸引，尤其是对触摸的吸引。南希认为，足迹远不能表明本质或存在，而是“触碰même le sol(正好触碰地面)”。这个同样的阈限触摸的形象——作为存在的极限和外在的触摸——在语料库中被用来描述身体被镌刻在自身之外的作为描述的存在。写作，对南希来说，就像遗留物一样，是一个在远离触摸时触摸的问题——简而言之，是一个机智的问题。为了预测接下来的论点，这个脚印让我们可以衡量南希的描述概念和德里达的文学之间的差距。在第一部分中建立了痕迹，在可触性和描述之间的联系之后，我在第二部分中转向德里达在《触摸者》中的论点，他认为南希的描述比现象学传统更准确地思考了触摸的间隔，尽管如此，最终还是屈服于某种“人文主义”的诱惑，在最后的例子中，像海德格尔一样，仍然继续赋予手特权，因为它是适合人类的。随着时间的推移，这种微妙的区别又一次取决于他们之间一直争论不休的无限的有限性问题。
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Pub Date : 2021-05-21DOI: 10.1080/13534645.2021.1896084
Philip Armstrong
In his ‘Five Notes for a Phenomenology of the Photographic Image’, Hubert Damisch states that ‘photography is nothing other than a process of recording, a technique of inscribing, in an emulsion of silver salts, a stable image generated by a ray of light’. As Damisch further observes, such a preliminary definition of traditional photographic practices ‘neither assumes the use of a camera, nor does it imply that the image obtained is that of an object or scene from the external world’. Indeed, we know that the history of photographic techniques includes numerous examples of prints made from film that has been exposed directly to a light source – examples might include Man Ray’s rayographs or Moholy-Nagy’s photograms – in which objects are placed directly onto the surface of a light-sensitive material. Figure 1. Ann Hamilton, face to face 53, 2001. Courtesy of the artist. #Ann Hamilton Studio.
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Pub Date : 2021-05-21DOI: 10.1080/13534645.2021.1896090
G. Michaud
In choosing this word, ‘in-finishing’, I wish to stress just how unseemly it would be to expect an Afterword to provide a conclusion or ‘last word’ to the texts that make up this collection. Instead, I would rather give precedence to this word’s force of opening, with its echoes of Joyce, to ‘in-finishing’ as an act of thinking in Jean-Luc Nancy’s work. It is a precedence to which each of these texts does justice in its own right, by exploring the poetics of exscription through the – philosophical, ethical, political, aesthetic – senses it sets forth. It also bears noting that these texts are not so much about Nancy’s work (nor do they simply take it up as their object) as they start and depart from it in order to open and unfurl their questions, which would no doubt be to Nancy’s liking, since he is wary of overbearing commentary or exegesis of any kind. ‘In-finishing’ would thus be the cardinal proposition here, or perhaps one should speak of preposition instead, with reference to Irving Goh’s essay, which argues that ‘there is only such a thing as pre-positions, which are always impelled by the force of the preposition “ a”’ in Nancy’s work, and that this ‘ a’ – more so than ‘with’ [‘avec’], – lies at the heart of his co-ontological thought and is the very source of the idiom that gives us access to his philosophy of existence:
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Pub Date : 2021-05-21DOI: 10.1080/13534645.2021.1896083
J. Ricco
The genealogy of the concept of exscription dates back to Jean-Luc Nancy’s 1988 essay, ‘L’excrit’ [‘Exscription’], in which he presented a philosophical meditation on the oeuvre of Georges Bataille. Work that, as Nancy says, serves as a reminder of the impossibility of communication as the condition for any sense of community. Coming just two years after the seminar on Bataille that he taught and that would result in his most well-known essay, ‘The Inoperative Community’, along with the accompanying essay, ‘Literary Communism’, Nancy’s essay on exscription actually brings together two texts written eleven years apart: ‘Reasons to Write’ (April 1977) and ‘Reasons to Read’ (August 1988). While it is in the latter that the term exscription is introduced, by pairing it with the earlier text, Nancy makes clear that we are to understand exscription as the reason why there are reasons to read and to write. At the same time, with his neologism marking the opening and exposure of inscription to the Outside, Nancy argues that the spacing of community is in-appropriable and therefore impossible to fully inscribe (or circumscribe, prescribe, and perhaps even to describe). In other words, of community there remains something incommunicable, unemployable, and indeed unintelligible. It is this limit, suspension, and impossibility at the heart of community that is written and read as exscription.
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Pub Date : 2021-05-21DOI: 10.1080/13534645.2021.1896087
P. P. Haensler
La psychanalyse se fonde, nous a dit Lacan, sur un principe qui s’ enonce ainsi: ‘Il n’y a pas de rapport sexuel’, et dont le corollaire, ou bien simplement l’autre formulation, se dit en ces termes: ‘La jouissance est impossible’./Ce qui m’int eresse ne peut pas être de scruter plus avant les tenants et aboutissants, non plus que les transformations de ces enonces principels ou matriciels dans la structure de la th eorie psychanalytique [... ]. Je pars de ce qui se fait entendre a moi, et donc de mon ecoute, certes pas analytique, mais justement pour cela flottante d’une mani ere: laissant se produire pour moi des r esonances qui ne vont pas se former a l’unisson de l’ emission lacanienne, mais contre elle, a son contact, c’esta-dire au plus pr es mais peut-être au plus loin en même temps, en une sorte d’ echo invers e, ou bien selon un rapport luimême (sexuel ou pas?) incommensurable.
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Pub Date : 2021-05-21DOI: 10.1080/13534645.2021.1896089
Michael Krimper
Jean-Luc Nancy wrote what is probably still his most well-known book, The Inoperative Community [La communaut e d esœuvr ee], over thirty years ago. It has not only been widely read and translated since its publication in 1986 but has prompted many other philosophers to contend with the ontological and political dimensions of community, notably Giorgio Agamben, Jacques Derrida, Roberto Esposito, and Achille Mbembe. From the mid 1980s onward, Nancy’s sustained deconstruction of community converged with postcolonial critiques of ethnonational identity and the state, as well as rearticulations of democracy no longer based on a politics of representation determined by fixed relations of common belonging and ownership. Furthermore, it resonates with an array of contemporary writing on assembly, queer antisociality, diaspora, blackness, and the commons, all of which interrogate the appropriative and possessive structures of relationality at the source of modern subjectivity. If this nexus of thought explores another way of being in relation with the other, then Nancy reminds us that those senses of being-in-common are already shared out in the ordinariness of everyday existence here and now.
Jean-Luc Nancy在三十多年前写了可能是他最著名的书《无效的社区》[La communaut e d esœuvr ee]。自1986年出版以来，它不仅被广泛阅读和翻译，而且促使许多其他哲学家与社区的本体论和政治维度进行斗争，特别是乔治·阿甘本、雅克·德里达、罗伯托·埃斯波西托和阿基利·姆本贝。从20世纪80年代中期开始，南希对社区的持续解构与后殖民时期对民族认同和国家的批评，以及不再基于由共同归属和所有权的固定关系决定的代表政治的民主的重新表述融合在一起。此外，它与一系列关于集会、酷儿反社会、散居、黑人和公地的当代写作产生了共鸣，所有这些都质疑了现代主体性来源的关系的占有和占有结构。如果这种思想联系探索了另一种与他人关系的方式，那么南希提醒我们，这些共同的感觉已经在这里和现在的日常生活中分享出来了。
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Pub Date : 2021-04-03DOI: 10.1080/13534645.2021.1995950
K. Sarkowsky
In his most recent novel The Illegal (2015), Canadian writer Lawrence Hill creates the fictional setting of Freedom State and Zantoroland to stage a story of economic despair, political persecution and ethnic cleansing that leads Zantorolanders to try their luck and seek to reach Freedom State in leaky boats. Many of them die of starvation or dehydration on the way; many drown. Those who make it to the shores of Freedom State are incarcerated and eventually deported to Zantoroland. Freedom State regards the refugees as economic migrants who, by crossing the border without the necessary papers and permits, become illegals and thereby criminals. Zantoroland is poor, its population consists of different African-descended ethnicities; Freedom State is wealthy and ruled by the white supremacist Family Party which promises ‘that people of traditional European stock weren’t overrun in their own country’. In Freedom State, citizenship is tied to race; keeping Zantorolanders out is meant to secure the economic and racial status quo.
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Pub Date : 2021-04-03DOI: 10.1080/13534645.2021.1995953
S. Thomas, Lea Espinoza Garrido, Mieszkowski Sylvia, Spengler Birgit, Wewior Julia
The following interview forms part of a double issue on Migrant States of Exception that is grounded in academic disciplines such as American studies, anthropology, film studies, sociology, philosophy and postcolonial studies as well as in the artistic practice of documentary film-making. It focuses on the legal concept of emergency in current European migration law. In its interest in colonial legacies, this conversation overlaps with some of the double issue’s articles – most notably those by Eichinger, Espinoza Garrido, Sarkowsky, Wewior and Wilton. Yet the interview also offers a unique focus on the colonial legacy of European case law. The interviewee, Thomas Spijkerboer, critiques the European legal tradition’s thinking about the state of exception (Carl Schmitt, Giorgio Agamben). He argues that merely building on this tradition runs the risk of erasing the racial specificity which may be hidden, but is, in fact, crucial to the legal concept of emergency, especially in the context of discussing current migrant emergencies. In order to avoid this erasure, Spijkerboer draws on Achille Mbembe, one of the most prominent contemporary thinkers of (and from) the postcolony, to foreground that which is so easily lost in current discussions of European migration law: the role that race plays in the organisation of freedom within liberalism and the insight that modern techniques of legal pluralism are deeply rooted in the history of colonial rule.
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