Critical Excess: Overreading in Derrida, Deleuze, Levinas, by Colin Davis

By Colin Davis

The "ancient quarrel" among philosophy and literature turns out to were resolved as soon as and for all with the popularity that philosophy and the humanities could be allies rather than enemies. serious extra examines intimately the paintings of 5 thinkers who've had an important, ongoing impression at the examine of literature and movie: Jacques Derrida, Gilles Deleuze, Emmanuel Levinas, Slavoj ?i?ek, and Stanley Cavell. Their methods are very diverse from each other, yet they every one make unforeseen interpretive leaps that render their readings exhilarating and unnerving.But do they move too some distance? Does a scribbled be aware left at the back of by way of Nietzsche relatively let us know in regards to the nature of textuality? Can Hitchcock really inform you "everything you usually desired to learn about Lacan"? Does the blanket hung up in a inn room invoke the Kantian divide among the knowable extra special global and the unknowable issues in themselves? Contextualizing the paintings of the 5 thinkers within the highbrow debates to which they give a contribution, this ebook analyzes the stakes and merits of "overreading."

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Additional info for Critical Excess: Overreading in Derrida, Deleuze, Levinas, Zizek and Cavell

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This exhaustive reading is, he implies, the dream of hermeneutics. In Derrida’s writing, following a tendency in French criticism and thought more generally, the word hermeneutics is often used to refer to the fallacy Derrida, Hermeneutics and Deconstruction  of a stable meaning accessible through interpretation. In Eperons, for example, he refers to “the hermeneutic project postulating the true sense of a text” (Derrida 1978: 86), and he attempts to steal Nietzsche away from “any hermeneutic question assured of its horizon” (Derrida 1978: 107).

The many-meaninged tone of Trakl’s Poem [Gedicht] comes from a gathering [Versammlung], that is, from a Monotone [Einklang], which, in itself, remains always unsayable” (Heidegger 1959: 75). The Poem is single, monotonous; its meanings are gathered together in an unsayable unity, about which there is nevertheless a great deal to be said. This is the precise point at which Derrida, who is in many respects a very Heideggerian reader of poetry, departs from his precursor. As will be discussed in the next chapter, Derrida’s “disseminal reading [lecture disséminale]” entails the resistance to any notion that the multiple senses to be found in the poetic utterance could ever be gathered together, even in some ideal, unspoken Poem.

The more poetic a poet is—the freer (that is, the more open and ready for the unforeseen) his saying—the greater is the purity with which he submits what he says to an ever more painstaking listening, and the further what he says is from the mere propositional statement that is dealt with solely in regard to its correctness or incorrectness. (Heidegger 1971: 214) Poets are poets insofar as they listen attentively to the appeal of language. The thinker, as reader of poetry, in turn listens to the poem in the endeavour to hear as purely as possible what the poem recalls.

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