Notes
2 In dialogue with Richard Kearney; see CitationKearney, Dialogues with Contemporary Continental Thinkers, 108.
10CitationDerrida, Psyche: Inventions of the Other, Volume I, 45 (‘Psyche: Invention of the Other’).
12 See for example CitationAporias, 15 (referring to the pivotal essay “Psyche: Invention of the Other,” 15); Citation“Force of Law,” 243, 244; CitationNegotiations, 192, 194 (“Politics and Friendship”), 352 (“Ethics and Politics Today”); CitationPaper Machine, 81, 194, n. 10 (“As If It Were Possible, “Within Such Limits””); Citation“A Certain Impossible Possibility of Saying the Event,” 451.
13 This now famous formula for radical, absolute alterity was first introduced in The Gift of Death, 68 and chap. 4 (82 ff.).
18CitationDerrida, in ““This Strange Institution Called Literature,”” 42. Celan's whole quotation, ‘Ich spreche ja von dem Gedicht, das es nicht gibt!’ (I am speaking of the poem which doesn't exist!), was first discussed in Citation“Shibboleth,” 11. One should note that Derrida's juxtaposition of Celan and Mallarmé here is intriguing since Celan rejected Mallarmé's conception of the ‘absolute poem’, claiming that such a poem cannot take place as it is ‘self-forgetting’ poetic art that leads to distance from the poetic ego.
25CitationDerrida, in ““This Strange Institution Called Literature,”” 36. See also Paper Machine, 163 (‘Others Are Secret Because They Are Other’).
31 See Le Trésor de la Langue Française informatisé online, at http://atilf.atilf.fr/tlf.htm, s. v. ‘hasard’. I wish to thank Laurent Milesi for this etymological nugget.
44CitationBlanchot, The Infinite Conversation, especially 54, 57 (“Plural Speech”), 415 (“The Absence of the Book”). I am grateful to Mario Aquilina for bringing to my attention these passages, which helped me refine this last point.
46 In that respect, see CitationHägglund, Radical Atheism, especially chap. 3 (76–106).
48CitationDerrida, Glas, 242a. The phrase is used in connection with an originary gift as sacrificial all-burning (‘holocaust’).
50 Blanchot's désastre is to be understood etymologically as a ‘bad star’ (aster), from Italian dis-astro, and is associated with the falling of/from an unlucky star, the advent of misfortune, as well as passivity and death. See CitationBlanchot, The Writing of the Disaster.
55CitationDerrida, Glas, 241a. I am grateful to Laurent Milesi for guiding me through the complexities of Derrida's development on Hegel.
58CitationDerrida, Glas, 259a. However, for a speculative de-ciphering of Mallarmé's joint calculation of ‘l'unique Nombre’ (Œuvres complètes, 462), as 707, and contingency, see CitationMeillassoux, Le Nombre et la sirène.
65CitationMihram, “The Abortive Didot-Vollard Edition of “Un Coup de Dés,”” 43.
68CitationMallarmé, Divagations, 210 (“Crisis of Verse”); translation modified in light of the English version in CitationBlanchot, The Work of Fire, 30 (“The Myth of Mallarmé”), which endeavours to capture the syntactical rhythm of this celebrated evocation.
69CitationBlanchot, The Work of Fire, 327 (“Literature and the Right to Death”). Gerald Bruns went as far as to assert that Blanchot's poetics represented ‘in certain respects an extended, open-ended commentary on this passage’ (Maurice Blanchot, 7).
71CitationBruns, Maurice Blanchot, 9. Spelt ‘im-possibility’ in The Infinite Conversation, 54 (“Plural Speech”).
82 Ibid., 8 (‘Différance’); also 10.
84 For the ‘essential relation’ between ‘the blank of writing’ and rhythm, see CitationDerrida, Psyche: Inventions of the Other, Volume I, 88 (“What Remains by Force of Music”).
90 Rhyme was replaced by several homophonic correspondences: (le) voile, (la) voile; (le) vague, (la) vague; poing, point; nom, non; temps, tant, tentant, etc.
94CitationLykourioti, “Antiform,” 181; Lykourioti's italics. The author refers to CitationRorty's notion of contingency in relation to language and selfhood in Contingency, Irony, Solidarity.
98 The title of the poem by Shelley which Derrida and others had been assigned to write about. See CitationDerrida, “Living On: Border Lines,” 163.
101CitationIyer, “The Unbearable Trauma and Witnessing in Blanchot and Levinas,” 46–47. The phrase is in Blanchot, The Writing of the Disaster, 116.
104CitationDerrida, La Carte postale, 448, where the title “LE TROP D'ÉVIDENCE / OU LE MANQUE A SA PLACE” clearly plays on the possibility of omitting diacritics on French capital letters to introduce Derrida's refutation of Lacan's ‘atomistic topology of the signifier’ and the full place and plenitude of lack (453, 488, etc.). For Derrida's diacritical strategy avant la lettre in shifting from the locative, Lacanian plenitude of lack to its privative dissemination, see also CitationMilesi, “De la déconstruction comme diacritique,” 463–79 (especially 472, 477, 479).
105 Let us recall in this context, alongside “Che cos'è la poesia?” – ‘The poem falls to me, benediction, coming of (or from) the other. Rhythm but dissymmetry.’ (297) – Derrida's epigraph to his best-known discussion of hospitality: ‘An act of hospitality can only be poetic.’ See CitationDerrida, Of Hospitality, 2.
106 See Liddell and Scott's Greek-English Lexicon, s. v. ‘ῥυθμ°´ς’.
111 Ibid., 99, referring to ‘forme théâtrale de poésie’ in ‘Crayonné au théâtre’ (CitationMallarmé, Œuvres complètes, 308). Mallarmé's strong interest in ballet and figures of the dance cannot be dissociated from his experiments with rhythm and syntax.
115CitationMeschonnic, “The Rhythm Party Manifesto,” 165. For the vicissitudes of Mallarmé's ongoing search for the Ideal of an Absolute Rhythm, see CitationEvans, Rhythm, Illusion and the Poetic Idea 217–308.
118 See CitationSmock, “Conversation,” 126. The subsequent remarks summarize Smock's excellent analyses.
121CitationDerrida, Dissemination, 4, 221. See also CitationBrunette and Wills, “The Spatial Arts,” 19: ‘I pay attention to the power that words, and sometimes the syntactical possibilities as well, have to disrupt the normal usage of discourse, the lexicon and syntax.’
122 According to Sarah Kofman, Glas is based on ‘double designs, a double posture or postulation, exacting a double discourse, a double writing’, as well as ‘a double gaze, profound, stereoscopic’ resulting from the two texts which force the reader to ‘a cross-eyed reading’. See CitationKofman, ““Ça cloche,”” 120.
123 An ‘apparently unpronounceable conversation’; CitationDerrida, Cinders, 22. In ““This Strange Institution Called Literature”” Derrida will also speak of an ‘internal polylogue’ (34, 36).
127 The translator's decision, in ‘such a flower engraves’; CitationDerrida, Margins of Philosophy, 209 (“White Mythology”).
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Arleen Ionescu
Arleen Ionescu is Professor in the Department of Philology and Foreign Languages at University of Ploie¸ti (UPG), Vice-Dean of the Faculty of Letters and Sciences and Executive Editor of Word and Text, a leading journal in the humanities in Romania. Her major research and teaching interests are in the fields of Modernist prose and, increasingly, Critical Theory. She has published widely on Joyce and other related aspects of modernism, as well as on Beckett, Blanchot and Derrida. She is the author of Concordanţe româno-britanice (2004), A History of English Literature: The Middle Ages and the Renaissance (2008, part of it revised for A Short History of English Literature: The Middle Ages and the Renaissance, 2012), and Romanian Joyce: From Hostility to Hospitality (2014). Email: [email protected]