For Derrida, the ‘‘as if’’, as a regulative principle directly appropriated and modified from its Kantian context, becomes the central lynchpin for understanding, not only Derrida's philosophical system as a whole, but also his numerous seemingly enigmatic references to his ‘‘jewishness’’. Through an analysis of the function of the ‘‘as if’’ within the history of thought, from Greek tragedy to the poetry of Wallace Stevens, I hope to show how Derrida can only appropriate his Judaic roots as an act of (...) mourning that seeks to render the lost object as present, ‘‘as if’’ it were incorporated by the subject for whom this act nevertheless remains an impossibility. As Derrida discerns within the poetry of Paul Celan, bringing a sense of presence/presentness to our experiences, and as a confirmation of the subject which the human being struggles to assert, is the poetic task par excellence. It is seemingly also, if Derrida is to be understood on this point, the only option left to a humanity wherein poetry comes to express what religious formulations can no longer justify. (shrink)

Abstract:This paper sheds light on the relation of mutual exclusion and implication that binds Derridean ethics with the figure of God. In rupture with existing scholarship that categorizes Derridean ethics as either radically atheistic or dialectically pertaining to the Judeo-Christian moral order, I put forward the argument that Derrida’s ethical thinking is best considered outside of the dialectics of a/theism. I demonstrate that, far from plainly disproving or falling within the bounds of existing religious discourses, Derrida inaugurates a new way (...) of relating to the absolute – whether it be named God, the infinitely other, or justice – beyond nihilism and idealism, atheism and theism, or more precisely between the two, in a space Derrida refers to as the space of spectrality. I thereby hope to finally do justice to the subtlety of Derridean ethics and foster the recognition that, twenty years after Derrida’s death, his ghosts can be of use in tackling some of the greatest ethical and political challenges of the twenty-first century, including the pursuit of peaceful pluralism in the context of rampant violence carried out in the name of God. (shrink)

The tension between the absence of identity and the feeling of presence theorised in Jacques Derrida’s philosophy is revealed in D’ailleurs Derrida, a film by Safaa Fathy (1999). Fathy’s film has had limited scholarly attention, yet it makes a distinctive contribution both to understanding and questioning Derridean thought. I argue that the not-meness of identity is revealed by Fathy through the theme of ‘elsewhere’ (ailleurs) in the film and yet it allows the audience to experience the tone and cadence of (...) Derrida’s speaking voice, in counterpoint with contemporary and archival images, thus providing a sense of his philosophy in relation to his life. The film shows how forms of absence such as silence, the not-said, and even pauses are essential to his work. Ultimately the film operates by giving Derrida the location, space, and time to articulate his views on identity, the close relationship between writing and filming, the experience of being ‘the Marrano’s Marrano’, circumcision, forgiveness and hospitality, and absence and presence. Nevertheless, Fathy’s film both reflects and questions his philosophical focus on absence and spectrality through a range of cinematic techniques, including reverse shots and cross-cutting between locations. (shrink)

The tension between the absence of identity and the feeling of presence theorised in Jacques Derrida's philosophy is revealed in D'ailleurs Derrida, a film by Safaa Fathy (1999). Fathy's film has had limited scholarly attention, yet it makes a distinctive contribution both to understanding and questioning Derridean thought. I argue that the not-meness of identity is revealed by Fathy through the theme of ‘elsewhere’ (ailleurs) in the film and yet it allows the audience to experience the tone and cadence of (...) Derrida's speaking voice, in counterpoint with contemporary and archival images, thus providing a sense of his philosophy in relation to his life. The film shows how forms of absence such as silence, the not-said, and even pauses are essential to his work. Ultimately the film operates by giving Derrida the location, space, and time to articulate his views on identity, the close relationship between writing and filming, the experience of being ‘the Marrano's Marrano, circumcision, forgiveness and hospitality, and absence and presence. Nevertheless, Fathy's film both reflects and questions his philosophical focus on absence and spectrality through a range of cinematic techniques, including reverse shots and cross-cutting between locations. (shrink)

The argument of this paper hinges on Derrida's relation to Judaism as a religious heritage and/or as an essential experience. If he can be said to ‘appropriate his Jewish roots’ at all, as Colby Dickinson (2011) has recently proposed, this is not because Derrida concurs that all belief in an ultimate reality (‘as such’) must now be understood in merely conditional terms (‘as if’). Rather, it is because Derrida deconstructs the difference between the Jew and the non-Jew, along with the (...) differences between the ‘as if’ and the ‘as such’ and the performative and the constative, in his very demonstration of the impossibility of ‘being-jewish’. Dickinson thus misunderstands the way in which Derrida appropriates Kant's regulative ‘as if’, and thus misrepresents what is at stake in Derrida's ‘faith’ in ‘Jewishness’. What is at stake is what Derrida calls deconstructive responsibility, and it takes the form of a radical fidelity to the principle of reason (to an ‘unconditional theoreticism’). This responsibility, paradoxically, demands and impels the interrogation of critical thinking itself, with its principles, its essences and its identities. Accordingly, Derrida interrupts both the ‘as such’ and the ‘as if’ with the ‘if’ of a dangerous ‘perhaps’. (shrink)

Investigates, through a critical exploration of Derrida's political thought, the foundations of modern secular discourse in relation to issues of race and colonialism.

This paper will pose the question of the future minoritization of the white, gentile, Christian European and EuroAmerican identity, which has dominated world history from colonization through the post-Cold War historical present. The question is not how this is coming to an end in the near future as empirical fact and in what manner, but an attempt to imagine another future, another identity than what has been proscribed in the past. In order to move into this alterity, we will engage (...) in a critical reading of Derrida’s essay “Abraham, The Other,” in the volume titled emJudeities: Questions for Jacques Derrida./em By examining the philosophical complexity of Derrida’s quasi-autobiographical reflection on his Jewish identity, we can prepare the conditions for how the future gentile white European identity could look when not grounded in its self-edifying monotheism of a white, Christiandominated political and cultural state. The relation between the future diversification of European identity is not just a matter of postcolonial immigration and multiculturalism. It has to do with the ontological problem of how to understand the origin and telos of gentile white European identity in its Christian heritage and metaphysics (from the ancient Greeks to Hegel, Nietzsche, and Heidegger) when simple notions of origin and end are erased. This brings in the philosophical problem of historical time, movement, and epochal shifts between today’s Europe and another Europe, today’s future and what is other to that. Derrida’s text provides a guide into what is other to monotheism, unicity, oneness, and—by extension, we will argue—gentile whiteness, Christianness too, which is not simply the opposite of polytheism and today’s racial diversity, i.e., non-white and non-western Christian minorities in Europe, the United States, Canada, and the “west” in general. Having said that, this does have obvious implications regarding justice and equality as European and “western” societies in general diversify. Linking the most archaic, or the farthest in distance beyond the mythic origin of Abraham and therefore of Jewish biblical-historical identity, raises the prospects of “another” Abraham. This Other is not rooted in historical memory. This paper argues that Derrida’s reflections will help us understand an alternative future whose metaphysics is yet to be written, one that is not simply a repetition of the contents of the history of (gentile) religion and philosophy in Europe and its linear, successive, chronological historical time-frame, i.e., the Gregorian calendar./p. (shrink)