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The paper offers a critical examination of introspection and stoicism as two apparently opposing responses to pain, and examines their adequacy as theoretical postures vis-a-vis the life-world. Following Wittgenstein, who suggests that introspection is fundamentally at fault, the paper moves to consider the theoretic stoicism of Durkheim as a possible alternative for inquiry. It comes to the conclusion, however, that stoicism, just as introspection fails to develop a strong theoretical interest in pain when it refuses to make the problem pain (...) poses for discourse conversational. (shrink)

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The two essays in the volume follow a long tradition in critical discourse that turns to Art's domain as a source of inspiration, instruction, and as material for the construction of its concepts and the development of its problems. The case study of Suite Grunewald, 159+1 variations, by the artist Titus-Carmel, returns to a subject that has been eclipsed in past decades by the imperative to remember: namely, the creation of the new as an event, or rather, the event of (...) the new as creation. This is an especially vexatious problem following, on the one hand, the massive displacement of the subject as the author and creator of its works and, on the other, the introduction of the influential Deleuzian-Bergsonian notion of the new as immanent continuity rather than - as the commonsense notion would have it - a rupture, interruption, and discontinuity. The first essay develops this problematic by working alongside with Titus-Carmel variations / deconstruction of Grunewald's original painting of the "Crucifixion" as an exemplary site where the creation of the new - at once incalculable and necessary - finds a living and urgent expression. The second essay stages an encounter and sets free the resonances between the writing of Jean-Luc Nancy on and around the "body" and the cinema of Claire Denis as a cinema that mobilizes the force of bodies that it itself invents, and to which it gives a unique form of presence. (shrink)

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Part of a series on the question of what is the good life, the essay is structured as a montage. Part 1 contests the received notion that death is exterior to the work of Deleuze. To this end, it gathers together a telegraphic collection of examples – ‘corpses’ in his corpus – that invariably show up whenever the question is raised. Part 2 attempts a Deleuzian move: it puts death to work. If death is not nothing, it argues, it must (...) be productive of something absolutely new. Drawing upon Blanchot's seminal essay, ‘The Two Versions of the Imaginary’, it makes the case that this creation is the cadaver: the first time-image. (shrink)

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Written as a last, long posthumous letter to Jacques Derrida, the essay turns to the philosopher's last and, for the living, most important lesson – on ‘learning to live.’ In particular, it addresses – as constitutive of his unique ‘heterodidactics’ – two discrete communications on the subject. The first, in Spectres de Marx (1993), declares the lesson to be at once impossible and necessary, that is, ‘ethics itself’; in the second, the last interview ‘Je suis en guerre contre moi-même’ published (...) just before his death in 2004, Derrida confesses to ‘have remained uneducable’ on the subject. The essay reflects on the performative significance of this contradiction in the context of Derrida's intimacy with death, his taste for mourning, and his practice of writing as an experience of dying and resurrection. (shrink)

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The posthumous -- Fragments -- Toward a memory of the future: cinema, memory, history -- The image and the "trait" -- Postscript: l'arrêt de mort.

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It is foolish to talk about the death of the cinema because cinema is still at the beginning [ d but ] of its investigations … Yes, the cinema if it is not killed by a violent death guards the power of a beginning [ un commencement ]. Deleuze , “ Preface ,” The Time-Image1.

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