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TitleContinental Philosophy II
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Table of Contents
                            Book Cover
Plato's Pharmakon: between two repetitions
Mysticism and transgression: Derrida and Meister Eckhart
Derrida and Descartes: economizing thought
Derrida, Kant, and the performance of parergonality
Hegel, Derrida, and the sign
Drawing: (an) affecting Nietzsche: with Derrida
'a cloche'
On Derrida's 'Introduction' to Husserl's Origin of Geometry
Derrida, Heidegger, and the time of the line
Derrida and Sartre: Hegel's death knell
Derrida, Levinas and violence
Derrida and Foucault: madness and writing
Notes on contributors
Document Text Contents
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binds the one to the other, becoming indecidable, speaking the lan-
guage and in the tongue of the other, penetrating the other; neither
feminine nor masculine, neither castrated nor non-castrated, not
bisexual, but striking between the sexes, because sex is always
already double; doubly sheathed and erect, it’s a double bind. A sex
with double ligaments, doubly connected, double spurs, double
styles, which binds and counter-binds, which binds only to get an
erection, which gets a bigger erection only through a previous ‘cas-
tration’ (since if castration has never taken place one still cannot say
that there is no castration), in any case—sliced, incised, slashed by
the other. Even more powerful when cut, divided, the erection has
an oblique aspect, what Derrida calls the antherection, which makes
it spill out, fall, reverse itself.

This powerful, erect sex, doubly bound, can only, however, ‘play
at pleasure.’ Genet cites Tiresias, cited in Glas; Tiresias—patron of
actors: ‘Seven years in men’s clothing, seven in women’s, because of
his dual nature his femininity hounded his virility, both in play in
such a way that he never had any rest, that is to say, a fixed point
on which to settle.’ Tiresias—Dionysus: the power of sexual plea-
sure and its play are not antinomies, and one can perhaps only
‘ truly’ be pleased while playing for pleasure.

V From ‘The Question of Style’ to Stilitano’s style:
m’ec writing27

The power of Glas, its potency, comes from the play of the double
erection, the double bind of text and sex. It presents a generalized
fetishism, a writing which erases all oppositions, those of sex, of
castration and non-castration, in favor of affirmation, double affirma-
tion. This writing, as it mixes sexes and genres, enacts a necessary
lapse of taste. Within the confines of this reading, we replay the
ceremony of Glas—the inverse of a purification. We begin with
what is left of the other, the little bits, the stumps—the quotations
play with these remains. Glas’s two columns are always mangled at
top and bottom and slashed at the sides; wounded, colossal columns
mark the entry into double play. Stilitanesque columns (Glas can be
directly grafted onto ‘Nietzsche and the Question of Style’ )—they
hold themselves straight up like flower stems or like bandaged
heads which only lift themselves up to be bound, like heads


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wrapped up after decapitation, crowned, glorified, and restored by
this very decapitation (like the beheaded martyrs in the paintings of
Fra Angelico that are in the Louvre; bloody heads, glorious): the
glorification of what expires, falling like a turd.

Our Lady of the Flowers opens with an archive of all the
heads which fall, condemned to death. But in falling, the head
is already raised again. In this case, it surges, it erects itself
precisely, decidedly. To be decapitated is to appear—erect:
like the swathed head and like the phallus, the erect stem, the
style of a flower.

Following the logic of the antherection the Stilitanesque columns
are oblique; what remains is stronger after being cut:

The more that remains, the harder it gets. The logic of the
antherection should not be simplified. It does not become
erect in opposition to, or in spite of, castration; in spite of the
wound or the disability, emasculating the castrated. The disabil-
ity itself bandages while binding. It is this which …produces
the erection.

Hegel—Derrida reads this as the entire history of the Jewish people
beginning with Abraham. It is Stilitano who draws his strength,
glory, and magnificence from his stump, from his mutilation—one
could say from his castration if this ‘ term’ did not hold up the text.
It is Stilitano who rises and falls, more alive than dead, thanks to
these cuts.

A Stilitanesque column is not erected afterwards to disguise a
deficiency, a castration; it is a prosthesis that is not preceded by
castration. Nothing remains upright without it. It stands erect. It is a
machine, a postiche and a pastiche, an ornamentation, a parade (an
umbrella, a screen, a parachute, etc.), an originary supplement. Inde-
cidable as far as sex is concerned, Stilitano affirms himself as male
as well as female, or as self-loathing queer, as transvestite.

Everyone becomes erect and is incorporated in the transvestite,
opposites in every genre. The incorporation of each sex sup-
poses both the incision and the supplement in the interior of
the double erection. But as soon as a supplementary incision

‘ÇA CLOCHE’1 125

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also taught seventeenth-century French philosophy and literature at
the University of Pennsylvania, Duke University, and the University
of California at Berkeley. She is author of Subjectivity and Represen-
tation in Descartes: The Origins of Modernity (Cambridge Univer-
sity Press, 1987) and articles on philosophy and literature, psycho-
analysis, French baroque and classical literature, and post-
modernism in the visual arts.

Sarah Kofman

Sarah Kofman teaches philosophy at the University of Paris I, Sor-
bonne. She has published many books in French on psychology, the
visual arts, literature, the Holocaust, and Nietzsche. Those translated
into English include The Enigma of Woman (Cornell University
Press, 1985) and The Childhood of Art (Columbia University Press,

Edith Wyschograd

Edith Wyschograd is Professor of Philosophy at Queens College of
the City University of New York. In 1987–8, she was a Fellow of
the Woodrow Wilson International Center for Scholars in Washing-
ton D.C. She is author of Emmanuel Levinas: The Problem of
Ethical Metaphysics (Martinus Nijhoff, 1970) and Spirit in Ashes:
Hegel, Heidegger and Man-Made Mass Death (Yale University
Press, 1985).

About the Editor

Hugh J.Silverman is Professor of Philosophy and Comparative Lit-
erature at the State University of New York at Stony Brook. He has
held visiting teaching posts at the Universities of Warwick and Leeds
in England, at the University of Nice in France, and at Stanford Uni-
versity, Duquesne University, and New York University in the
United States. Author of Inscriptions: Between Phenomenology and
Structuralism (Routledge & Kegan Paul, 1987) and more than fifty
articles in continental philosophy, philosophical psychology, aesthet-
ics, literary theory, and cultural studies, he is also editor of Piaget,
Philosophy and the Human Sciences (Humanities/Harvester, 1980),
coeditor of Jean-Paul Sartre: Contemporary Approaches to his Phi-


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losophy (Duquesne/ Harvester, 1980), Continental Philosophy in
America (Duquesne, 1983), Descriptions (SUNY Press, 1985),
Hermeneutics and Deconstruction (SUNY Press, 1985), Critical and
Dialectical Phenomenology (SUNY Press, 1987), The Horizons of
Continental Philosophy: Essays on Husserl, Heidegger, and Merleau-
Ponty (Nijhoff/Kluwer, 1988), Postmodernism and Continental
Philosophy (SUNY Press, 1988), and The Textual Sublime: Decon-
struction and its Differences (SUNY Press, forthcoming 1989).


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