In this essay, I trace the development of Julia Kristeva's theory and practice of “the subject in procession trial” from her semiotic works of the 1960s to her psychoanalytic writings of the 1970s and 1980s. I read Kristeva's exploration of this “subject in procession trial” as contributing to a postmodern feminist ethics.
During the 1975–76 academic year, Jacques Derrida delivered a seminar, La vie la mort, at the Paris ENS. Based on archival translations of this as-yet untapped seminar, McCance’s The Reproduction of Life Death offers an unprecedented study of Derrida’s engagement with molecular biology and genetics, particularly François Jacob’s interpretation of DNA reproduction in his 1970 book La Logique du vivant (The Logic of the Living). Structured on an itinerary of “three rings,” each departing from and coming back to Nietzsche, Derrida’s seminar ties Jacob’s logocentric account of reproduction to the reproductive program of teaching that characterizes the academic institution, challenging this mode of teaching as auto-reproduction along with the concept of academic freedom on which it is based. McCance’s The Reproduction of Life Death makes another decisive contribution in bringing together Derrida’s critique of Jacob’s theory of auto-reproduction with his reading of reproductivity, the tendency to repeat-reproduce, that is theorized and enacted in Freud’s “speculative” Beyond the Pleasure Principle. The book includes Derrida’s analyses of life death in relation to autobiography and the signature. The book will be of interest to all theorists and disciplines concerned with the question of life.
Arguing that the revolution in postmodern physics is concerned essentially not with a change in paradigm but with a change in interpretive standpoint, this paper explores a parallel between the aetiology of disease in Buddhism and the interpretive standpoint introduced by twentieth-century quantum physics. The paper suggests a need to revise central interpretive assumptions of the natural and human sciences, including the traditional projection of an atomistic self.
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L'Enfant sauvage de François Truffaut expose le privilège que la modernité du dix-neuvième siècle accordait à ta connexion entre la parole et l'audition par rapport à la tenue droite. En traçant l'incapacité de l'enfant sauvage d'Aveyron à répondre « au traitement de la parole », le film offre également divers arguments théoriques sur la subjectivité et la représentation. Bien que le film de Truffaut soit habituellement décrit comme docudrame basé sur une « histoire vraie », il remet en question le mythe référentiel et la pensée binaire sur lesquels il se fonde. Le film est autant un compte-rendu de la vie du réalisateur et de la philosophie de la Nouvelle Vague, qu'un récit « réaliste » sur le Dr. Itard et le cas de l'enfant sauvage. Itard est coincé dans le différend entre la science des Lumières et la substance du mythe.
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