Because music communicates extra-propositionally, philosophers often use musical concepts and metaphors to discuss implicit and/or affective knowledges. Music is a productive means to philosophically analyze affect, but only when these analyses are grounded in rigorous studies of actual musical works and practices. When we don’t ground our study of music in musical practices, works, and theories, “music” just becomes a mirror of whatever assumptions and biases we already have. I show how the overly-abstract treatment of music and sound in (...) class='Hi'>Jean-Luc Nancy’s Listening leads to significant philosophical and political problems. By following his musical metaphors all the way through, I show how his theory of listening naturalizes maleness/masculinity, and, like liberal multiculturalism, values “difference” only as a way to re-center whiteness and patriarchy. As an alternative, I use R&B/electropop singer Kelis’s 2010 single “Acapella” to develop an alternative account of music, affect, and the politics of difference. (shrink)

Through careful analysis of phenomenological texts by Husserl and Heidegger, Marion argues for the necessity of a third phenomenological reduction that concerns what is fully implied but left largely unthought by the phenomenologies of both ...

In seven essays that draw from metaphysics, phenomenology, literature, Christological theology, and Biblical exegesis,Marion sketches several prolegomena to a future fuller thinking and saying of love’s paradoxical reasons, exploring evil, freedom, bedazzlement, and the loving gaze; crisis, absence, and knowing.

Traditionally, in Anglo-American and Continental philosophy, music is addressed as the object of philosophical analysis: it is either a case study for developing broader, generalizable ideas about ontology, metaphysics, or ethics, or it is the thing that we apply philosophical methods and concepts to.1 It is the philosophy of music, remember. But in the last several decades philosophers in these traditions have increasingly taken “music” as a model for philosophical analysis: There is a branch of Deleuze studies dedicated to this; (...) new materialisms constantly refer to things such as vibration, resonance, and other wave behaviors such as diffraction; and Continental figures such as Jean-Luc Nancy and Adriana... (shrink)

Now in paperback, Jean-Luc Marion's groundbreaking philosophy of human uncertainty. In Negative Certainties, renowned philosopher Jean-Luc Marion challenges some of the most fundamental assumptions we have developed about knowledge: that it is categorical, predicative, and positive. Following Descartes, Kant, and Heidegger, he looks toward our finitude and the limits of our reason. He asks an astonishingly simple—but profoundly provocative—question in order to open up an entirely new way of thinking about knowledge: Isn’t our uncertainty, our finitude, and rational (...) limitations, one of the few things we can be certain about? Marion shows how the assumption of knowledge as positive demands a reductive epistemology that disregards immeasurable or disorderly phenomena. He shows that we have experiences every day that have no identifiable causes or predictable reasons and that these constitute a very real knowledge—a knowledge of the limits of what can be known. Establishing this “negative certainty,” Marion applies it to four aporias, or issues of certain uncertainty: the definition of man; the nature of God; the unconditionality of the gift; and the unpredictability of events. Translated for the first time into English, Negative Certainties is an invigorating work of epistemological inquiry that will take a central place in Marion’s oeuvre. (shrink)

On Descartes’ Passive Thought is the culmination of a life-long reflection on the philosophy of Descartes by one of the most important living French philosophers. In it, Jean-Luc Marion examines anew some of the questions left unresolved in his previous books about Descartes, with a particular focus on Descartes’s theory of morals and the passions. Descartes has long been associated with mind-body dualism, but Marion argues here that this is a historical misattribution, popularized by Malebranche and popular ever since (...) both within the academy and with the general public. Actually, Marion shows, Descartes held a holistic conception of body and mind. He called it the meum corpus, a passive mode of thinking, which implies far more than just pure mind—rather, it signifies a mind directly connected to the body: the human being that I am. Understood in this new light, the Descartes Marion uncovers through close readings of works such as Passions of the Soul resists prominent criticisms leveled at him by twentieth-century figures like Husserl and Heidegger, and even anticipates the non-dualistic, phenomenological concepts of human being discussed today. This is a momentous book that no serious historian of philosophy will be able to ignore. (shrink)

The essay on Husserl’s phenomenology of touch in Derrida’s recent On Touching—Jean-Luc Nancy represents his only substantial re-engagement with Husserlian phenomenology to be published following the series of texts dating from the period marked by his Mémoire of 1955 through to the essay ‘Form and Meaning’ included in Margins (1972). The essay, devoted to some key sections of Husserl’s Ideas II, appears to break new ground in Derrida’s readings of Husserl, but in fact demonstrates a profound continuity with his (...) earlier readings. In fact, I argue that this continuity is in a part an effect of Derrida’s ongoing commitment to the ‘methodology’ of deconstruction. I show how this commitment leads Derrida to conflate three separate distinctions within Husserl’s discussion, a conflation that obliges Derrida to misread the letter of Husserl’s text, and which, in turn, blinds him to a certain radical potentiality within Husserl’s phenomenology of sensibility. (shrink)

Question - Dans Sur le prisme métaphysique de Descartes, vous concluiez par la « destitution » de la métaphysique, ainsi laissée enfin à elle-même, et vous en appeliez à une autre « instance », un autre ‘ordre’, pour définir la tâche d'élaborer une doctrine de la charité, d'en retracer l'histoire, selon la règle d'une historicité absolument indépendante de l'historialité. Les deux protagonistes emblématiques de cet ouvrage permettaient de comprendre la nature du « saut » ainsi requis et d'instituer la rupture. (...) Le mouvement général de Réduction et donation est le même, mais cette fois une case reste vide. Il ne s'agit point, en effet, dans ce dernier ouvrage, de ‘jouer’ quant à la réduction, Heidegger contre Husserl; cette confrontation n'intervient qu'en un premier moment, puisqu'aussi bien Husserl élargit déjà la réduction. Reste que, s'il est légitime de distinguer et d'opposer dans un horizon phénoménologique commun la réduction transcendantale de Husserl à la réduction au « phénomène d'être » de Heidegger, le passage à la troisième réduction - tel que vous le proposez - reste beaucoup plus problématique, sauf à jouer d'une certaine équivocité du terme même de « donation », celle-là même qui conduit de la Selbstgegebenheit à la constellation du Geben, de la Gabe et du es gibt. (shrink)

As they appear to us, we separate phenomena into objects and events according to an apparently phenomenological distinction that is both radical and undisputed. The object appears according to four basic characteristics: it is predictable; it is reproducible; it results from a cause acting as an effect; and it always inscribes itself within the conditions of possibility for experience. The event appears as a reversal of these characteristics: it appears without warning; it appears once and for all, that is, without (...) the possibility of repetition or reproduction; it appears without any assignable or anterior cause; and finally it appears in defiance of the conditions of the possibility for experience—as the impossible made possible. (shrink)

Pourquoi les philosophes, et plus précisément les philosophes européens (mais justement en quel sens y en a-t-il qui ne le soient pas, d’une manière ou d’une autre, européens? – voilà un problème européen par excellence) écrivent-ils tant sur l’Europe? Sans doute parce que l’Europe elle-même apparaît comme une question prioritaire de la pensée et même prioritairement à penser, donc une question prioritaire pour la philosophie. Mais en quel sen...

Les textes présents dans cet ouvrage mettent en lumière l’importance des deux volumes d’inédits publiés récemment : Carnets de captivité et autres inédits et Parole et Silence et autres conférences inédites au Collège philosophique (Paris, Grasset – IMEC, 2009 et 2011). La philosophie est par essence système et si tous les écrits d’un auteur n’ont pas à entrer dans le système, ces deux volumes d’inédits relèvent directement du système de cette pensée en...

The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting (...) point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds. Drawn to musical sound as a powerful form of non-verbal communication, the authors include musicologists, philosophers, music theorists, ethnomusicologists and composers. The chapters in this volume investigate and ask fundamental questions about how we think, converse, write about, compose, listen to and analyse music. The work is informed by the philosophy primarily of Gilles Deleuze and Felix Guattari, and secondarily of Michel Foucault, Julia Kristeva and Jean-Luc Nancy. The chapters cover a wide range of topics focused on twentieth and twenty-first century musics, covering popular musics, art music, acousmatic music and electro-acoustic musics, and including music analysis, music's ontology, the noise/music dichotomy, intertextuality and music, listening, ethnography and the current state of music studies. The authors discuss their philosophical perspectives and methodologies of practice-led research, including their own creative work as a form of research. Music's Immanent Future brings together empirical, cultural, philosophical and creative approaches that will be of interest to musicologists, composers, music analysts and music philosophers. (shrink)

Appearing in English for the first time, Jean-Luc Nancy’s 2002 book reflects on globalization and its impact on our being-in-the-world. Developing a contrast in the French language between two terms that are usually synonymous, or that are used interchangeably, namely globalisation (globalization) and mondialisation (world-forming), Nancy undertakes a rethinking of what “world-forming” might mean. At stake in this distinction is for him nothing less than two possible destinies of our humanity, and of our time. On the one hand, with (...) globalization, there is the uniformity produced by a global economical and technological logic leading to the contrary of an inhabitable world, “the un-world” (l’im-monde)—as Nancy refers to it—an un-world that entails social disintegration, misery, and injustice. And, on the other hand, there is the possibility of an authentic world-forming, that is, of a making of the world and of a making sense that Nancy calls a “creation” of the world. Nancy understands such world-forming in terms of an inexhaustible struggle for justice. This book is an important contribution by Nancy to a philosophical reflection on the phenomenon of globalization and a further development on his earlier works on our being-in-common, justice, and a-theological existence. (shrink)

The last and most poignant of these essays is The Intruder, Nancys philosophical meditation on his heart transplant.

Jean-Luc Marion advances a controversial argument for a God free of all categories of Being. Taking a characteristically postmodern stance, Marion challenges a fundamental premise of both metaphysics and neo-Thomist theology: that God, before all else, must be. Rather, he locates a "God without Being" in the realm of agape, of Christian charity or love. This volume, the first translation into English of the work of this leading Catholic philosopher, offers a contemporary perspective on the nature of God. "An (...) immensely thoughtful book. . . . It promises a rich harvest. Marion's highly original treatment of the idol and the icon, the Eucharist, boredom and vanity, conversion and prayer takes theological and philosophical discussions to a new level."--Norman Wirzba, Christian Century. (shrink)

Jean-Luc Nancy provides an analysis of the anti-Semitic aspects of Heidegger's recently published Black Notebooks. Nancy refers to a philosophical or "historial" anti-Semitism marked, nonetheless, by the "banality" of ordinary anti-Semitism pervading Europe. Heidegger's thought is placed in the broader context of the European (especially Christian) impulse toward new beginnings.

The possible and revelation -- The saturated phenomenon -- Metaphysics and phenomenology: a relief for theology -- "Christian philosophy": hermeneutic or heuristic? -- Sketch of a phenomenological concept of the gift -- What cannot be said: Apophasis and the discourse of love -- The banality of saturation -- Faith and reason.

Does Descartes belong to metaphysics? What do we mean when we say "metaphysics"? These questions form the point of departure for Jean-Luc Marion's groundbreaking study of Cartesian thought. Analyses of Descartes' notion of the ego and his idea of God show that if Descartes represents the fullest example of metaphysics, he no less transgresses its limits. Writing as philosopher and historian of philosophy, Marion uses Heidegger's concept of metaphysics to interpret the Cartesian corpus--an interpretation strangely omitted from Heidegger's own (...) history of philosophy. This interpretation complicates and deepens the Heideggerian concept of metaphysics, a concept that has dominated twentieth-century philosophy. Examinations of Descartes' predecessors (Aristotle, Augustine, Aquinas, and Suarez) and his successors (Leibniz, Spinoza, and Hegel) clarify the meaning of the Cartesian revolution in philosophy. Expertly translated by Jeffrey Kosky, this work will appeal to historians of philosophy, students of religion, and anyone interested in the genealogy of contemporary thought and its contradictions. (shrink)

Givenness and Revelation represents both the unity and the deep continuity of Jean-Luc Marions thinking over many decades. This investigation into the origins and evolution of the concept of revelation arises from an initial reappraisal of the tension between natural theology and the revealed knowledge of God or sacra doctrina. Marion draws on the re-definition of the notions of possibility and impossibility, the critique of the reification of the subject, and the unpredictability of the event in its relationship to (...) the gift in order to assess the respective capacities of dogmatic theology, modern metaphysics, contemporary phenomenology, and the biblical texts, especially the New Testament, to conceive the paradoxical phenomenality of a revelation. This work thus brings us to the very heart and soul of Marions theology, concluding with a phenomenological approach to the Trinity that uncovers the logic of gift performed in the scriptural manifestation of Jesus Christ as Son of the Father. Givenness and Revelation enhances not only our understanding of religious experience, but enlarges the horizon of possibility of phenomenology itself. With a Foreword by Ramona Fotiade, Senior Lecturer in French, and David Jasper, Professor of Literature and Theology, both at the University of Glasgow. (shrink)

Adoration is the second volume of the Deconstruction of Christianity, following Dis-Enclosure. The first volume attempted to demonstrate why it is necessary to open reason up not to a religious dimension but to one transcending reason as we have been accustomed to understanding it; the term "adoration" attempts to name the gesture of this dis-enclosed reason. -/- Adoration causes us to receive ignorance as truth: not a feigned ignorance, perhaps not even a "nonknowledge," nothing that would attempt to justify the (...) negative again, but the simple, naked truth that there is nothing in the place of God, because there is no place for God. The outside of the world opens us in the midst of the world, and there is no first or final place. Each one of us is at once the first and the last. Each one, each name. And our ignorance is made worse by the fact that we do not know whether we ought to name this common and singular property of all names. We must remain in this suspense, hesitating between and stammering in various possible languages, ultimately learning to speak anew. -/- In this book, Jean-Luc Nancy goes beyond his earlier historical and philosophical thought and tries to think-or at least crack open a little to thinking-a stance or bearing that might be suitable to the retreat of God that results from the self-deconstruction of Christianity. Adoration may be a manner, a style of spirit for our time, a time when the "spiritual" seems to have become so absent, so dry, so adulterated. -/- The book is a major contribution to the important strand of attempts to think a "post-secular" situation of religion. (shrink)

Why is it that the modern conception of literature begins with one of the worst writers of the philosophical tradition? Such is the paradoxical question that lies at the heart of Jean-Luc Nancy’s highly original and now-classic study of the role of language in the critical philosophy of Kant. While Kant did not turn his attention very often to the philosophy of language, Nancy demonstrates to what extent he was anything but oblivious to it. He shows, in fact, that (...) the question of philosophical style, of how to write critical philosophy, goes to the core of Kant’s attempt to articulate the limits, once and for all, that would establish human reason in its autonomy and freedom. He also shows how this properly philosophical program, the very pinnacle of the Enlightenment, leads Kant to posit literature as its other by way of what is here called the syncope, and how this other of philosophy, entirely its product, cannot be said to exist outside of metaphysics in its accomplishment. This subtle, unprecedented reading of Kant demonstrates the continued importance of reflection on the relation between philosophy and literature, indeed, why any commitment to Enlightenment must consider and confront this partition anew. (shrink)

Philosophers have largely ignored sleep, treating it as a useless negativity, mere repose for the body or at best a source for the production of unconscious signs out of the night of the soul.In an extraordinary theoretical investigation written with lyric intensity, The Fall of Sleep puts an end to this neglect by providing a deft yet rigorous philosophy of sleep. What does it mean to fallasleep? Might there exist something like a reasonof sleep, a reason at work in its (...) own form or modality, a modality of being in oneself, of return to oneself, without the waking selfthat distinguishes Ifrom youand from the world? What reason might exist in that absence of ego, appearance, and intention, in an abandon thanks to which one is emptied out into a non-place shared by everyone?Sleep attests to something like an equality of all that exists in the rhythm of the world. With sleep, victory is constantly renewed over the fear of night, an a confidence that we will wake with the return of day, in a return to self, to us--though to a self, an us, that is each day different, unforeseen, without any warning given in advance.To seek anew the meaning stirring in the supposed loss of meaning, of consciousness, and of control that occurs in sleep is not to reclaim some meaning already familiar in philosophy, religion, progressivism, or any other -ism. It is instead to open anew a source that is not the source of a meaning but that makes up the nature proper to meaning, its truth: opening, gushing forth, infinity.This beautiful, profound meditation on sleep is a unique work in the history of phenomenology--a lyrical phenomenology of what can have no phenomenology, since sleep shows itself to the waking observer, the subject of phenomenology, only as disappearance and concealment. (shrink)

In 1991, Jean-Luc Nancy's heart gave out. In one of the first such procedures in France, a stranger's heart was grafted into his body. Numerous complications followed, including more surgeries and lymphatic cancer. The procedure and illnesses he endured revealed to him, in a more visceral way than most of us ever experience, the strangeness of bodily existence itself and surviving the stranger within him. During this same period, Europe began closing its borders to those seeking refuge from war (...) and poverty. Alarmed at this trend and drawn to a highly intimate form of strangeness with which he had been living for years, Nancy set out in The Intruder to articulate how intrusion--whether of a body or a border--is not antithetical to one's identity but constitutive of it. In 2004, Claire Denis adapted The Intruder into a film already hailed among the most important of our century. This edition includes Nancy's and Denis's accounts of turning philosophy into film and the text of a shorter collaboration between the two of them. Throughout, Nancy and Denis push us to recognize that to truly welcome strangers means a constant struggle against exoticism, enforced assimilation, and confidence in our own self-identity. (shrink)

Arguing for a cognition theory that radically rejects the passivity Aristotle attributes to the soul with regard to material things, Olivi has to assume that the soul is always on the alert, that is, that its attention to the body never disappears, even in deep sleep. This is for him the only way to explain why an intense sensation wakes us up without acting on the soul. He thus exposes himself to possible criticism from Aristotelians: his hypothesis is counter-intuitive and (...) seems to be contradicted by our experiencing eclipses of our awareness. I propose a defense of Olivi based on a ‘retort’, showing that Aristotelians must themselves postulate either, like Albert the Great, that the agent intellect is constantly in act, or, like Thomas Aquinas, that it exercises a continual surveillance of phantasms, even when we are not conscious of it. So they cannot deny Olivi the right to hypothesize a permanent attention of the soul. (shrink)

This book is a close reading of Jacques Lacan's seminal essay, "The Agency of the Letter in the Unconscious or Reason Since Freud," selected for the particular light it casts on Lacan's complex relation to linguistics, psychoanalysis, and philosophy. It clarifies the way Lacan renews or transforms the psychoanalytic field, through his diversion of Saussure's theory of the sign, his radicalization of Freud's fundamental concepts, and his subversion of dominant philosophical values. The authors argue, however, that Lacan's discourse is marked (...) by a deep ambiguity: while he invents a new "language," he nonetheless maintains the traditional metaphysical motifs of systemacity, foundation, and truth. (shrink)

L’oeuvre de Jean-Luc Nancy - une des plus importantes aujourd'hui - aura traversé plus qu'une expérience de pensée. La richesse et la complexité de ses analyses, de ses références, de son engagement intellectuel sont d'une densité rare. Rien ne lui aura échappé : histoire de la philosophie, métaphysique, politique, déconstruction, théologie, esthétique, art, littérature... Les entretiens passe en revue ces différents registres de la pensée sans jamais céder à l'exigence philosophique qui caractérise ce partage à deux voix. Ce dialogue (...) entre Danielle Cohen-Levinas et Jean-Luc Nancy a commencé depuis longtemps, un peu sur le mode d'une forme musicale, telle qu'on la trouve à l'époque classique et baroque. L'inventeur de l'invention est Jean-Sébastien Bach. Il s'agit ici d'une invention à deux voix, qui se déploie dans le temps sans jamais viser sa finalité ou sans jamais toucher à sa fin. (shrink)

A l'occasion du cinquantenaire de la mort de René Guénon, l'auteur retrace la vie de ce philosophe qu'un commentateur qualifia d'invisible, tant il fut discret et effacé. De son enfance en milieu catholique à son adhésion à l'islam, en passant par son intérêt pour l'ésotérisme, l'occultisme, l'hindouisme et son initiation maçonnique, Guénon surprend en se montrant un infatigable chercheur d'absolu et un précurseur du dialogue interreligieux. Cet ouvrage très complet propose une vivante évocation de la tradition symbolique, que René Guénon (...) a eu le mérite d'épurer. Sa pensée, tout en interrogeant les apports de l'Orient à l'Occident, les mythes et les symboles, dénonce les pseudo-religions, les sectes, le théosophisme ou l'erreur spirite, et évite le piège du syncrétisme. René Guénon estimait que tout homme doit tendre à la réalisation spirituelle et il fut un juge impitoyable de notre civilisation occidentale matérialiste. Jean-Luc Maxence éclaire l'itinéraire exceptionnel de cet auteur qui, en une vingtaine de livres, marqua plusieurs figures de son époque, de René Daumal à Louis Pauwels ou Raymond Abellio, et dont l'œuvre était considérée comme " l'une des plus singulières de ce temps " par le cardinal Daniélou, même si celui-ci ne partageait pas ses idées. Rebelle, inclassable, la pensée du " philosophe invisible " appartient au patrimoine de la philosophie. (shrink)

Il ne s'agit pas de morale. Il s'agit de ce qui nous oblige, de ce qui fait de nous des êtres-obligés : une loi au-delà de la loi, qui nous est donnée et à laquelle nous sommes abandonnés.

Jean-Luc Marion has long endeavored to broaden our view of truth. In this illuminating new book--his deepest engagement with theology to date--Marion proposes a rigorous new understanding of human and divine revelation in a deeply phenomenological key. Although today considered the central theme of theology, the concept of Revelation was almost entirely unknown to the first millennium of Christian thought. In a penetrating historical deconstruction Marion traces the development of this term to the rise of metaphysics from Aquinas through (...) Descartes, Suárez, and Kant; formalized into an epistemological framework, this understanding of Revelation has restricted philosophical and theological thinking ever since. To break free from these limits, Marion takes hints from theologians including Balthasar and Barth while mobilizing the phenomenology of givenness to provide a rigorous new understanding of revelation as a mode of uncovering. His extensive study of the Jewish and Christian Scriptures unfolds a logic of Trinitarian phenomenality, worked out in conversation with Augustine, Basil, Hegel, Schelling, and others, that ultimately transforms our very notions of being and time. The result is precisely what we have come to expect from this acclaimed philosopher: masterful historical scholarship working in tandem with daring originality. (shrink)

Painting, according to Jean-Luc Marion, is a central topic of concern for philosophy, particularly phenomenology. For the question of painting is, at its heart, a question of visibility—of appearance. As such, the painting is a privileged case of the phenomenon; the painting becomes an index for investigating the conditions of appearance—or what Marion describes as “phenomenality” in general. In The Crossing of the Visible, Marion takes up just such a project. The natural outgrowth of his earlier reflections on icons, (...) these four studies carefully consider the history of painting—from classical to contemporary—as a fund for phenomenological reflection on the conditions of (in)visibility. Ranging across artists from Raphael to Rothko, Caravaggio to Pollock, The Crossing of the Visible offers both a critique of contemporary accounts of the visual and a constructive alternative. According to Marion, the proper response to the “nihilism” of postmodernity is not iconoclasm, but rather a radically iconic account of the visual and the arts that opens them to the invisible. (shrink)

The phenomenological origins of the concept of givenness -- Remarks on the origins of Gegebenheit in Heidegger's thought -- Substitution and solicitude: how Levinas re-reads Heidegger -- Sketch of a phenomenological concept of sacrifice.