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Acts of Literature, by Jacques Derrida
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First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
- Sales Rank: #1069711 in Books
- Published on: 1991-11-22
- Released on: 1992-04-16
- Original language: English
- Number of items: 1
- Dimensions: 9.21" h x 1.07" w x 6.14" l, 1.35 pounds
- Binding: Paperback
- 472 pages
From the Back Cover
Acts of Literature will serve as an excellent introduction to Derrida's remarkable contribution to literary studies, and will help refocus attention on the importance of literature, and on such topics as singularity, responsibility, and affirmation, in his work as a philosopher and critic of institutions.
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0 of 0 people found the following review helpful.
A COLLECTION OF DERRIDA’S WRITINGS ABOUT “LITERATURE” AND CERTAIN WRITERS
By Steven H Propp
Jacques Derrida (1930–2004) was a French philosopher and writer, best known for developing a form of semiotic analysis known as “Deconstruction.”
The book begins with a 1989 interview with Derrida; he states, “there is no text which is literary IN ITSELF. Literarity is not a natural essence, an intrinsic property of the text. It is the correlative of an intentional relation to the text, an intentional relation which integrates in itself, as a component or a intentional layer, the more or less implicit consciousness of rules which are conventional or institutional---social, in any case… The literary character of the text is inscribed on the side of the intentional object, in its noematic structure, one could say, and not only on the subjective side of the noetic arc.” (Pg. 44)
He explains, “I think we should … become aware of the link between literature, a history of literature, and the metaphysical tradition---even if this link is complicated for the reasons given just now. Contrary to what some people believe or have an interest in making believe, I consider myself very much a historian, very historicist---from this point of view. We must constantly recall this historical solidarity and the way in which it is put together. Deconstruction calls for a highly ‘historian’s’ attitude… even if we should also be suspicious of the metaphysical concept of history. It is everywhere.” (Pg. 54)
Later in the same interview, he says, “the existence of something like a literary reality in itself will always remain problematic… No INTERNAL criterion can guarantee the essential ‘literariness’ of a text. There is no assured essence or existence of literature. If you proceed to analyze all the elements of a literary work, you will never some across literature itself, only some traits which it shares or borrows, which you can find elsewhere too, in other texts, be it a matter of the language, the meaning, or the referents…” (Pg. 73)
In the essay ‘Psyche,’ he explains, “I would say that deconstruction loses nothing from admitting that it is impossible; also that those who would rush to delight in that admission lose nothing from having to wait. For a deconstructive operation POSSIBILITY would rather be the danger, the danger of becoming an available set of rule-governed procedures, methods, accessible approaches. The interest of deconstruction, of such force and desire as it may have, is a certain experience of the impossible: that is…of the other---the experience of the other as the invention of the impossible, in other words, as the only possible invention. Where, in relation to this, might we place that unplaceable we call ‘literature’?” (Pg. 327-328)
He later goes on, “Deconstruction is inventive or it is nothing at all; it does not settle for methodological procedures, it opens up a passageway, it marches ahead and marks trail; its writing is not only performative, it produces rules---other conventions---for new performatives and never installs itself in the theoretical assurance of a simple opposition between performative and constative. Its PROCESS involves an affirmation, this latter being linked to the coming in event, advent, invention. But it can only make it by deconstructing a conceptual and institutional structure of invention that would neutralize by putting the stamp of reason on some aspect of invention, of inventive power; as if it were necessary, over and beyond a certain traditional status of invention, to reinvent the future.” (Pg. 337)
He acknowledges, “In explaining this, I must also refuse to be the philosopher that, in the light of some appearances, I am thought to be, and above all I must make a scene in which I oblige him not to wash his hands any more of the things I say here, be they proper or improper. And to do this, I have to have it out with the signature, with his, with mine, perhaps, and with the other’s, since one of the reasons (perhaps) that philosophers (this being a part of philosophy), will have known how to cut short, to stop… or to cut, and thereby to shorten and to sign. In order to sign, one has to stop one’s text, and no philosopher will have signed his text, resolutely and singularly, will have spoken in his own name, accepting all the risks in doing so. Every philosopher denies the idiom of his name, of his language, of his circumstance, speaking in concepts and generalities that are necessarily improper.” (Pg. 350-351)
He notes, ”Multiplicity within language, or rather heterogeneity. One should specify that untranslatability is connected not only with the difficult passage, the aporia or impasse which would isolate one poetic language from another. Babel is also this POSSIBLE IMPOSSIBLE step, beyond hope of translation, tied to the multiplicity of languages within the uniqueness of the poetic inscription several times in one, several languages in one poetic act.” (Pg. 408)
This is a very interesting collection (particularly given that Derrida often thinks of himself more as a writer of literature, than as a “philosopher,” per se); it will be “must reading” for anyone studying the entire spectrum of Derrida’s thought.
1 of 2 people found the following review helpful.
A COLLECTION OF DERRIDA’S WRITINGS ABOUT “LITERATURE” AND CERTAIN WRITERS
By Steven H Propp
Jacques Derrida (1930–2004) was a French philosopher and writer, best known for developing a form of semiotic analysis known as “Deconstruction.”
The book begins with a 1989 interview with Derrida; he states, “there is no text which is literary IN ITSELF. Literarity is not a natural essence, an intrinsic property of the text. It is the correlative of an intentional relation to the text, an intentional relation which integrates in itself, as a component or a intentional layer, the more or less implicit consciousness of rules which are conventional or institutional---social, in any case… The literary character of the text is inscribed on the side of the intentional object, in its noematic structure, one could say, and not only on the subjective side of the noetic arc.” (Pg. 44)
He explains, “I think we should … become aware of the link between literature, a history of literature, and the metaphysical tradition---even if this link is complicated for the reasons given just now. Contrary to what some people believe or have an interest in making believe, I consider myself very much a historian, very historicist---from this point of view. We must constantly recall this historical solidarity and the way in which it is put together. Deconstruction calls for a highly ‘historian’s’ attitude… even if we should also be suspicious of the metaphysical concept of history. It is everywhere.” (Pg. 54)
Later in the same interview, he says, “the existence of something like a literary reality in itself will always remain problematic… No INTERNAL criterion can guarantee the essential ‘literariness’ of a text. There is no assured essence or existence of literature. If you proceed to analyze all the elements of a literary work, you will never some across literature itself, only some traits which it shares or borrows, which you can find elsewhere too, in other texts, be it a matter of the language, the meaning, or the referents…” (Pg. 73)
In the essay ‘Psyche,’ he explains, “I would say that deconstruction loses nothing from admitting that it is impossible; also that those who would rush to delight in that admission lose nothing from having to wait. For a deconstructive operation POSSIBILITY would rather be the danger, the danger of becoming an available set of rule-governed procedures, methods, accessible approaches. The interest of deconstruction, of such force and desire as it may have, is a certain experience of the impossible: that is…of the other---the experience of the other as the invention of the impossible, in other words, as the only possible invention. Where, in relation to this, might we place that unplaceable we call ‘literature’?” (Pg. 327-328)
He later goes on, “Deconstruction is inventive or it is nothing at all; it does not settle for methodological procedures, it opens up a passageway, it marches ahead and marks trail; its writing is not only performative, it produces rules---other conventions---for new performatives and never installs itself in the theoretical assurance of a simple opposition between performative and constative. Its PROCESS involves an affirmation, this latter being linked to the coming in event, advent, invention. But it can only make it by deconstructing a conceptual and institutional structure of invention that would neutralize by putting the stamp of reason on some aspect of invention, of inventive power; as if it were necessary, over and beyond a certain traditional status of invention, to reinvent the future.” (Pg. 337)
He acknowledges, “In explaining this, I must also refuse to be the philosopher that, in the light of some appearances, I am thought to be, and above all I must make a scene in which I oblige him not to wash his hands any more of the things I say here, be they proper or improper. And to do this, I have to have it out with the signature, with his, with mine, perhaps, and with the other’s, since one of the reasons (perhaps) that philosophers (this being a part of philosophy), will have known how to cut short, to stop… or to cut, and thereby to shorten and to sign. In order to sign, one has to stop one’s text, and no philosopher will have signed his text, resolutely and singularly, will have spoken in his own name, accepting all the risks in doing so. Every philosopher denies the idiom of his name, of his language, of his circumstance, speaking in concepts and generalities that are necessarily improper.” (Pg. 350-351)
He notes, ”Multiplicity within language, or rather heterogeneity. One should specify that untranslatability is connected not only with the difficult passage, the aporia or impasse which would isolate one poetic language from another. Babel is also this POSSIBLE IMPOSSIBLE step, beyond hope of translation, tied to the multiplicity of languages within the uniqueness of the poetic inscription several times in one, several languages in one poetic act.” (Pg. 408)
This is a very interesting collection (particularly given that Derrida often thinks of himself more as a writer of literature, than as a “philosopher,” per se); it will be “must reading” for anyone studying the entire spectrum of Derrida’s thought.
3 of 28 people found the following review helpful.
A challenge to read
By Bruce P. Barten
I'm used to reading philosophy, but I might be too dark and dour to comment on this kind of book. Given an ambiguous situation, I have major problems seeing how it might have anything to do with me. Even if comedy was an art form, I might not be funny, or even meaningful, or in any way like this book. Considering the impossible situations that I have imagined myself in, as in: If Nam was a joke, I was the straight man; this book seems to be another instance in which the main routine is like a popular, major comedy, which you don't see me laughing at. How could I be sure that there is something here as funny as a video of the routine, "Who's on first?" I still only see the questions, and the fact that Who's wife sometimes comes down and picks up his check for him doesn't make it any clearer to me.
This is not the first book by or about Jacques Derrida that I have tried to read. An interview, "This Strange Institution Called Literature" (pp. 33-75) establishes that it is possible for the editor, Derek Attridge, and J.D. to talk to each other about literature and philosophy, though few people might be aware of what J.D. means by "Anamnesis would be risky here, because I'd like to escape my own stereotypes." (p. 34). Forgetting about Nam (Nam amnesia?) might be risky for me, because I have so many things that I always consider Namlike in their stupidity to remind me, but J.D. was actually saying that recollecting his past would be risky. Anyone who thinks ought to be able to escape his prior conditions or convictions, and it's much easier if no one remembers what they are.
There are only a few mentions of Nietzsche in this book, and the index says they are on pages 9, 26n, 34, 37, 39, 81, 287, 293, 326n, but I say they are on pp. 9, 26n, 35, 37, etc. and also in the title of the essay, "Rhetoric of Persuasion (Nietzsche)" by Paul de Man, and its conclusion: "This by no means resolves the problem of the relationship between literature and philosophy in Nietzsche, but it at least establishes a somewhat more reliable point of `reference' from which to ask the question." (p. 327).
There is a chapter of this book on "Before the Law" by Kafka. In addition to thoroughly explaining everything in that short work, there are a number of suggestions, like "Under these conditions literature can play the law, repeating it while diverting or circumventing it." (p. 216). Those who are not familiar with Kafka might underestimate how much this book attempts to make the law seem less practical than Chapter 9 of THE TRIAL. "This entire chapter is a prodigious scene of Talmudic exegesis, concerning `Before the Law,' between the priest and K. It would take hours to study the grain of it, its ins and outs." (p. 217). Then J.D. offers an explanation, but then starts talking about Prague and "my officially appointed lawyer told me: . . . `Don't take this too tragically, live it as a literary experience.' And when I said that I had never seen the drugs that were supposed to have been discovered in my suitcase before the customs officers themselves saw them, the prosecutor replied: `That's what all drug traffickers say.'" (p. 218). The priest is called, "a kind of Saint Paul, the Paul of the Epistle to the Romans who speaks according to the law, of the law and against the law." (p. 219). Closer to the end, "'You are the prison chaplain,' said K." (p. 220).
Chapter 10, "From Shibboleth for Paul Celan" (pp. 370-413) is dated Seattle, 1984. Much of the discussion is of the German words used in Celan's poems. My favorite first line is of the poem, IN EINS, "Dreizehnter Feber. Im Herzmund" which is translated: "In One, Thirteenth of February. In the heart's mouth" (p. 397). It appears again on page 399, with the second line, and a discussion of "Shibboleth, this word I have called Hebrew, is found, as you know, in a whole family of languages: Phoenician, Judaeo-Aramaic, Syriac. It is traversed by a multiplicity of meanings: river, stream, ear of grain, olive-twig. But beyond these meanings, it acquired the value of a password."
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