Jeanluc Nancy A Finite Thinking

A FINITE THINKING
Jean-Lue Naney
Edited by Simon Sparks
STANFORD UNIVERSITY PRESS

STANFORD; CALIFORNIA
2003
. . A? .
'
� ., ,'
. ...
. •... �\
/
•i. 'Cl:> .. .
.
Cl:i .: . . . ... .. . . ... . . .. .. . " -::::> \
co ;
i ci; 1 5 -09- 2004 �*. :� 5e/\

: '7 .. . . .. ..... . ..
: ", '
. .. .:. I:::t:J f.
.....
�
. . .
. .. .
\. . � .. . . "T,L' " b� 0t:r . .
. The ess�yS '�i7iteThinking,""The Unsacrificeable," 2Lt�O
.
.
. )IX)
.
.
/}
...
. . . . J<e·,:lU\'S'; : nenng,""Shattered Lov7,"and "EllIptlC
'
. . .• .. • ' aI S ense
"
. w-:1{.,:)
.... tfJ/SJ Mg\h\}ll�.�lleared in French in 1990 in the volume entitled F5�
. ··
····· .. Unrd7{�eefinie © .1990 Editions Galilee. All other essays were
2. 00')
added by the author and the editor when they configured this
v�lume for English publication; © 1983, 1993, 1997, 2003
Editions GaliIee.
Cet ouvrage, publie dans le cadre d'un programme d'aide a la publication,

beneficie du soutien du Ministere des Affaires etrangeres et du Service
Culture! de l'Ambassade de France aux Etats-Unis. [This work, published
as part of a program of aid for publication, received support from the
French Ministry of Foreign Affairs and the Cultural Services of the
FrenchEmbassy in the United States.]
Stanford Universiry Press

Stanford, California
© 2003 by the Board ofTrustees of the

Leland Stanford Junior University.
All rights reserved.
Printed in the United States of America

on acid-free, archival-quality paper.
Library of Congress Cataloging-in-Publication Data
Nancy, Jean-Luc.
A finite thinking / Jean-Luc Nancy ; edited by Simon Sparks.
p. cm. - (Cultural memory in the present)
Includes bibliographical references.
ISBN 0-8047-3900-5 (a1k. paper)-
ISBN 0-8047-3901-3 (pbk. : a1k. paper)
1. Thought and thinking-Philosophy. 2. Sense ( Philosophy)
3. Finite, The. 1. Sparks, Simon, 1970- n.Title. Ill.Series.
B2430.N363F56 2003
I94-DC2I
2003002090
Original Printing 2003
Last figure below indicates year of this printing:

12 II 10 09 08 07 06 05 04 03
Typeset byTim Roberts in n!I3.5 Adobe Garamond

Contents
I. THINKING
, 1. A Finite Thinking 3
..... 2. Concealed Thinking 31
Il. EXISTING
, 3 . The Unsacrificeable
" 4. The Indestructible
Ill. DIFFERENCE
"' 5. Elliptical Sense 91
" 6. Borborygmi II2
IV. JUDGING
7. The Kategorein of Excess 133
8. Lapsusjudicii
" 9. Originary Ethics
V. PLEASURE
10. The Kantian Pleasure System 199
H. The Sublime Offering 2II
... 12. Shattered Love 245
1 1 111111111 111111
BOGAZic;i
UNIvERSITESi
KUTUPHANESi
470355
Vlll Contents
VI. WORLD
13- In Praise of the Melee

'-
14- Responding to Existence
'- 15- Changing of the World
CODA
, Res ipsa et ultima
3II
Notes
THINKING
1
A Finite Thinking
Does existence have a sense ?-this question required several centuries even to
be understood completely and in all its profundity.
-Friedrich Nietzsche, The Gay Science!
Because philosophy opens out Onto the whole of man and onto what is
highest in him, finitude must appear in philosophy in a completely radical
way.
-Martin Heidegger, ]{ant and the Problem ofMetaphysics 2
Sense [sens] is already the least shared thing in the world. But the
question of sense is already what we share, without any possibility of its be
ing held in reserve or avoided. So, the question of sense, then, or perhaps
we should say: rather more and rather less than a question,
. a concern,
maybe, a task, a chance. 3
Of course, by "sense" I mean sense in the singular, sense taken ab
solutely: the sense of life, of Man, of the woi:ld, of history, the sense of ex
istence; the sense of the existence that is or that makes sense, the existence
without which sense would not exist; equally, the sense that exists or pro
duces existing, without which there would be no sense.
Thinking is never concerned with �ything else. If there is anything

like thinking, it's only because there's sense, and if there's anything like
sense it's only in the sense that sense is always giv�n and gives itself as
something to be thought. But as well as thinking there's also intelligence
or, worse, intellectuality: each of these are more than capable of devoting
themselves to the job in hand as if, in the first instance and exclusively, it
were not a matter of sense. This cowardice, or this laziness, is pretty com
mon. Perhaps from the very moment that there is discours�-and there's
4 THINKING
always "discourse" (always a discourse of sense, never a silent ecstasis, even

though it's at the limit of words, their very iimit)-it's unavoidable in e�ery
effort or inclination to think. Yet it seems that this fin de siecle has more or
less its own form of cowardice and intellectual irresponsibility, carrying on
precisely as if it did not remind us, if only by virtue of its symbolic value
(bur also because of other circumstances, other politics, technologies, aes
thetics), with a certain brusqueness, of the question of sense, its chance or
its concern.Won't the century that has just come to an end have been a
century of innumerable destructions of sense, irinumerable deviations,
derelictions, weaknesses-in short, the century of its ultimate end?
Ultimately, are we going to thinkthe end? Intellectual cowardice re
acts badly to the word "end"-the '�end" of philosophy, the "end" of art,
the '''end'' of history . .. , and so on-as if it feared being deprived of the
facts and certainties without which it would find itself forced to engage
with what it wants to avoid, namely, the extremity, the radicality of think
ing. And this is precisely what is at issue, precisely what has to be at issue:
unreservedly thinking this polymorphous and proliferating end of sense,
because only here can we have any chance of thinking the provenance of
sense and of thinking how sense comes to us anew.
The title "a finite thinking" puts three very simple things into play:
on the one hand, it denotes that there is, for us, a thinking that's finished,
a mode of thinking that has been lost with the destruction of sense, that is,
with the completion and buckling of the West's resources of signification
and meaning (God, History, Man, Subject, Sense itself . .. ). And yet, in
its accomplishment and withdrawal, like a crashing wave whose ebb leaves
behind the lines of a new high-tide mark, this thinking leaves us with a
new configuration (its own, then its own undoing of itself at its own limit).
Equally, it suggests that a thinking equal to the significance of the end has
come our way, if I can pur it in this way, a thinking that has first of all to
measure itself against the fact that "sense" could have ended and that it
could be a question of sense's essential finitude-s�mething that would, in
turn, demand an essential finitude of thinking. In fact, and this is the third
thing raised by the title, whatever the content or the sense of what I am
calling "finitude" (and this collection of essays is concerned with nothing
else, even though it's a long way from being a treatise on the subject), we
A Finite Thinking
can at least be sure that any attempt to think such an "object" is going to
have to marry its form or condition, while also being a finite thinking: a
thinking that, without renouncing truth or universality, without renounc
ing sense, is only ever able to think to the extent that it also touches on its
own limit and its own singularity. How are we to think everything-sense
as a whole, even though it's not as if we could not do so, sense being .indi
visible-in a thinking, withiri the limit of one trifling study? And how are
we to think the fact that this limit is the limit of the whole of sense?
I've no direct answer to this, so let me simply affirm a necessity: "the
working out of the innermost essence of finitude must itself always be fun
damentally finite."4
W'hat is sense? What is the "sense" of the word "sense" and what is
the reality of this thing "sense"? What is the concept? What is the referent?
What immediately springs to mind is that the concept and the referent
must be one and the same here, since it's as a concept (or, if you like, as an
idea or a thought) that this "thing" exists. Sense is the concept of the con
cept. We can analyze this concept as signification, u�derstanding, mean'"
ing, and so forth.5 But �hat is implied, articulated, and exploited in all
these analyses is that the concept in question, across its entire extension
and the whole of its meaning, can't simply be the concept (or the sense) of
something that would stay put, set within an exterior reality, without any
intrinsic relation to its concept (at least in the way in which we tend to un
"
derstand the relation of a stone or a force to its concept). The concept of
sense implies that sense is being grasped or is grasping itself as sense. This
mode, this gesture of grasping or graSping itself as sense, is what produces
sense, the sense of all sense: like a concept that would itself have the stony
quality of the stone or the force of force, its concept and its referent are in
dissociable. (And it's this that's the absolute of sense at the very horizon of
every metaphysics of Knowledge and of the Word, of Philosophy and Po
etry.) Sense is only what it is in itself, if it is, indeed, "to itself."
The same goes for the other sense of the word "sense," for its sensible
sense: to sense is necessarily to sense that there is something like sensation.
Sensing senses nothing if it doesn't sense itself sensing, just as understand
ing understands nothing if it doesn't understand itself understanding. The
"other" sense of the word sense is only "other" in terms of this sameness.6
6 THINKING
All of which leads to a chiasmus: what senses in sense is the fact that it in
cludes what it senses, and what produces sense in sense is the fact that it
senses itself producing sense. Of course, we can always object that in this
way we have merely pushed back ad infinitum the question of the sense of
sense, or that, in this oxymoronic game, where nothing tells us what it
might mean "to sense sense" or "to understand sensing," we have even lost
any possibility of posing it.
It's doubtless no coincidence that this double aporia refers us back to
the most powerful distinction that philosophy has to offer: that between
the sensible and the intelligible. Moreover, we could easily show that there
is no philosophy, no poetry, which hasn't claimed, in one way or another,
to have overcome, dissolved, or rendered dialectical this double aporia.
This is always going to be the most extreme point of metaphysics I men
tioned a moment ago. The task that follows philosophy, our task, is the
same, altered only-bur altered in truly unlimited fashion-by the end of
sense?
The entire work of an epoch-that of philosophy going deeper into

its own end, deconstructing' its own sense-has already taught us about
another deployment of the same aporia (not its "solution," but rather the
thought ofthe absence ofsolution as the very site ofsense), a deployment that
we can try to state as follows.
Sense depends on relating to itself as to another or to some other. To
have sense, or to make sense, to be sensed, is to be to oneself insofar as the
other affects this ipseity in such a way that this affection is neither reduced
to nor retained in the ipse itself. On the contrary, if the affection of sen�e is
reabsorbed, sense itself also disappears. The same can be said of the stone
(at least according to our representations of it), as it can of the great mono
liths, monuments and monograms of philosophy: God or Being, Nature or
History, Concept or Intuition. "The end of philosophy" means laying out
this reabsorption of sense-what it also means, however, is the question of
the part of sense that resists, reinitiates it, and opens it once again.
Sense is the openness of a relation to itself: what initiates it, what en
gages it, what maintains it to itself, in and by the difference of its relation.
(Here, "self " denotes as much the "oneself " of sense, if we can speak in
these sorts of terms, as any constitution of the "self," understood as "iden-
A Finite Thinking 7
tity," as "subjectivity," as "propriety," etc.) The to of the to itself, along with

all the values that we can give it (desire, recognition, specularity, appropri
ation, incorporation, etc.), is first and foremost the fissure, the gap, the
spacing of an opening. Again: "Significance [Bedeutsamkeit: the propriety
of having or producing sense] is that on the basis of which the world is dis
closed as such."8
But "openness" has today become a somewhat jaded motif, the evo
cation of the easy generosity of a right.;thinking, fashionable discourse (in
which "alterity," "difference," etc. also figure): a moral propriety, then,
rather than an ontological one. Now, it is being that should be at issue here.
What would sense be or what would make sense, at least in the sense of the
sense of being . . . , what could there be, what "€ould be, if there were no
sense (of being)?9
The openness of the to-the-self needs to be thought alongside this
ontological radicality, therefore (whatever becomes of the "sense" of "on
tology "). Basically, this is what defines, for our time, what is essential in
the work of thinking.
. To say that being is open isn't to say that it's first this or that and
then, over and above this, marked or distinguished by openness. Being is
open-and this is what I'm trying to establish in terms of the being of
sense or in terms of being -to -the self-only in this openness as such; it
is itself the open. In the.same way, the self that is to-itself by and in alter
ity doesn't possess this (�other" as a correlate or as the term of a relation
that would happen to "relate" to itself Thought rigorously, it is not a mat
ter of "other" or of "relation." Rather, it is a matter of a diaresis or a dis
section of the "self " that precedes not only via every relation to the other
but also via every identity of the self In this diaresis, the other is already
the same, but this "being" isn't confusion, still less a fusion; no, it is the
being-other of the self as neither "self " nor "other," nor as some founding
or original relation between them. It is less than and more than an origin;
it is the to-itself as the appropriation of what cannot be appropriated in its
to-being-of its sense.
The self that lies at the origin of this being, appropriating its own
end (such is, or appears to be, the Hegelian and philosophical Self in gen
eral, even if it somehow manages to dilute this appropriation, whether in a
8· THINKING
"regulative idea," or in every form of relativism, or in an "enigma of ends,"

or in an "incessant pursuit of the question," in short, in a scattering of
thought)-this self would be senseless [insense], somewhat in the manner
of a game whose rules specifY that the winner be given in advance. This is
the insanity on which philosophy touches at its end (schematism/ absolute
knowledge/ death of God). And it is precisely this touch that produces the
thought of the end, in every sense of the term.
There is sense only once this being -to itself no longer belongs to it
self, no longer comes back to itself Only once it is this not -coming -back
-to itself: this restless refusal to come back to itself in such a way that it
does not simply "remain" outside, either in the sense of a lack or in the
sense of a surplus, but as itself the to of being to itself, the open of its open
ness. Sense is the to-itself whose to determines the selfto the point of pos
sibly being the transformation of the "self," the disinterestedness of the
"self," its very forgetting as well as the interweaving, in it, that it properly
is, of a "you," a "we," and even of the "it" of the world.
A simple, hard, and difficult thought; then. One that appears to run
counter to all thinking. Yet one, too, that thinking knows-understands
and senses-in the same way that it thinks what lies within itself A
thought that appears to be in permanent rebellion as much against any
possibility of discourse, judgment, or signification as against intuition, evo
cation, or incantation. Yet one, too, that is only present by way of those
discourses or words that it violates-whose violence it is. This is why we
call this thought "writing," that is, the inscription of this violence and of
the fact that, through it, all sense is excribed [excrit] ceaselessly refuses to
'
come back to itself, and that all thinking is the finite thinking of these in
finite excesses.
A thought that is devoted to the thinking of a single sense, then,
since it's clear that there cannot be several senses, hierarchies, situations, or
conditions more or less "full" or more or less worthy of sense. (We'll come
back to the notion of evil, the self-suppression of sense.) What is essential
to this sense, however, always assuming that there is an "essence," absolute
sense in its absoluteness and its singularity, is that it neither grasps nor
presents its unity or its oneness. This "single" sense has neither unity nor
oneness: it is (the) "single" sense (of "a single" being) because it is sense
A Finite Thinking 9
each time. It's not sense "in general," therefore, nor is it sense once and for
all. If it were, it would be completed, reabsorbed, and senselessly insane.
Infinite and insane.
Finitude designates the "essential" multiplicity and the "essential"
nonteabsorption of sense or of being. In other words, if it is as existence
and only as existence that being comes into play, it designates the without
essence of existing: "When being is posited as infinite, it is precisely then
that it is determined. If it is posited as finite, it is then that its absence of
ground is affirmed."1O Here I transcribe groundlessness (Abgritndlichkeit) as
"sense." Groundlessness isn't a lack on the part of being that needs to be
undergone, justified, originated. Rather, it is being's reference to nothing,
either to substance or to subject, not even to "being," unless it be to a
being-to, to itself, to the world as the openness, the throw or the being
thrown qf existence.
More rigorously still: being isn't Being; it's neither substantive nor
substance. "Being" is only being, the verb-at least insofar as we can
desubstantialize the verb itself, destabilize grammar. And not the intransi
tive verb that language gives us, but the intransitive verb "be-ing," which
doesn't actually exist: 11 "being a being," in the same way that we talk about
"doing or founding or eating a being," but in such a way that it transmits
no quality or property, in such a way that it transmits itselfalone, trans
mitting to the being in question nothing other than this to of transmission,
the being-to of sense, giving existence being as sense. Not, however, in the
sense of the "meaning" or the "sense of being" as a content of signification,
but in the sense of the being-sense of being. Not, therefore, "giving" it per
se, being merely the to--the presentation, tension, direction, abandon
ment-of an offering that, with a single stroke, without any ground what
'
soever, makes a being "indebted" to or puts it in excess of its own exis
tence, having to be (existence, the self ), having to appropriate itself as the
inappropriable character of the groundlessness that would have been its be
ing, both more and less than an origin.
"Finitude" doesn't mean that the totality of sense isn't given and that
we must defer (or abandon) the appropriation to the point of infinity, but
that all sense
resides in the nonappropriation of "being," whose existence
' ,
(or whose existing) is appropriation itsel£

W hat makes sense for a being isn't the appropriation of a Sense that
would produce senseless existence like a monolith of being. On the con
trary, it is, on each occasion and from each birth to each death, the appro-
10 THINKIN�
priation (to itself ) of there being no sense to this senseless sense. This is, for
example, what a thought of death means when, rather than thinking that
death gives sense, it thinks that sense makes sense because death suspends
its appropriation and appropriates the inappropriable character of being
to, which is itself no longer to anything else. Let me put it another way:
what carries the whole weight of thinking, in an expression lik.e zum Tode
sein,being-toward- (or to-) �eath,n isn't death but the toward or the to,
"death" merely indicating that this toward or this to is maintained, as a
structure of being, "up to the end"�which is always the absence of any
"end," of any extremity at which the infinite circle of an insane appropria
tion might be completed. Being-to ''t�nds up" being-to, something that's
neither a circle nor a tautology, still less an appeal to any morbid heroism
and, "less still, an invitation to turn death into the mark of a mission or a
service. It is appropriated death that is senseless. Sense is existence that is
always being horn and always dying (being born is dying). All of which
doesn't take anything away from the hardness of death, from anxiety before
it. Nothing that I have said brings either consolation or compensation.
Rather, it simply indicates that, in finitude, there is no question of an
"end," whether as a goal or as an accomplishment, and that it's merely a
question of the suspension of sense, in-finite, each time replayed, re
opened, exposed with a novelty so radical that it immediately fails,.
The new, as the very event of sense, eludes itself. I can never say:
"Look, here, thus, the sense of my existence." By saying it, testing it out,
even, I'm already steering sense in the direction of an accomplishment. Yet
the very thing that eludes it, or the eluding that sense itself is, is something
that we have always already understood. Essentially, a finite thinking of
finitude is a thinking of the fact that we, as beings, from the m�ment that
we exist, have already "understood" the finitude of being. An ontology of
finite being describes nothing less than "what all of us, as men, always and
already understand."13 "
"Understand" doesn't mean grasping a determinate concept but en
tering into ( already being within) the very dimension of "understanding,"
that is, relating to some particular sense. It means being born to the element
of sense in the singular mode of its presence. Being born properly means
coming to a presence whose present has already escaped, is already missing
A Finite Thinking II
from the "coming to." But it is still a matter of coming. And, in this com
ing, of "understanding," of having already "understood" the coming-pres
ence or the presence-to of existence. Of l:Jeing that comes into the world;
of being that comes into sense. And being, too, that comes to sense [ au
sentir] as sense
[comme au sentir] . I can't sayany more here than what I've
already said regarding the aporetic nexus of the sense of "sense." Other
than that, it doubles the "already" of Heidegger's "already understood." We
have already understood because we have already sensed; we have already
sensed because we have understood. Or, rather, we have already come into
sense because we are already in the world; we are in the world because we
are in sense. One opens the other-this is all that is "understood."
Sense is existence in this ontological priority, whence it is reached
and whence it fails, whence it reaches its failing point. How can we turn
away from this hard, striking, obscure point? Birth has already turned us
toward it. But how can we simply open our eyes? Death has already closed
them. To obey this double constraint-the very absolute of existence-is
to enter into a finite thinking.
Or, rather, it is to enter into the finite character of all thinking be
cause, in truth, no one is unaware of this point, which lies at the heart of
all philosophy, however "metaphysical" it may be. Not a single thinker has
thought, if they have thought anything at all, without thinking this. All
that remains for us is to think this finite character as such and without in
finitizing it. This task is as finite as any other. Equally, it's certain. Yet this
doesn't mean that we have some knowledge of its accomplishment. Every
one asks: "What should we think?" (at least they. will, so long as they don't
prefer the injunction: "Don't think too much!"). Well, what we have to
think is this: that thought is never given, neither at the beginning nor at
the end. From which it follows that it is never "giveable" as such. There'�
not an "ounce" of sense that could be either received or transmitted: the
finitude of thinking is indissociable from the singularity of "understand
ing" what is, each time, a singular existence. (All of which isn't to say that
there's nothing that we might think "in common,'" as it were. I will come
back to this.)
12 THINKING
Existence is the sense of being. Not, however, according to a relation

to "being" in general (as if there were such a thing . . . ), but in such a way
that it concerns .each time a (finite) singularity of being. Here "singularity"
isn't simply understood as the singularity of an individual (not simply as
Heidegger's "in each case mine"), but as the singularity of punctuations, of
encounters and events that are as much individu:u as they are preindivid
ual or common, at every level of community. "In" "me" sense is multiple,
even if, here or there, this multiplicity can also comprise a sense that is "my
own": "outside" "me," sense lies in the multiplicity of moments, states, or
inflexions of community (but equally, then, in what is always a: singular
"we"). In any event, the singularity of the sense ofpeing means that being's
production of sense is not the being-self of all essence. Essence is of the or
der of having: an assembly of qualities. By contrast, existence is itself its
own essence, which is to say that it is without essence. It is, by itself, the re
lation to the fact of its being as sense. This relation is one of lack and of
need: "The privilege of existing shelters in it the necessity [and the distress:
die No4 of having to need the understanding of being." Existence does not
have what it always already and constantly has. Why? Precisely because it
is not a matter of having. To exist means: to lack sense.
On the other hand, what is in the mode of essence-if anything can
be such 14_no longer has any sense. It is simply senseless. Equally, lacking
sense, or to be lacking through sense, isn't the same as lacking a fullness, a
lack that would bear all the marks, the traces, the premises of what it actu
ally lacks. On the contrary, to lack sense, to be in the distress or the neces
sity (Not) of sense is exactly that, namely, sense. From which it follows that
to lack sense is, pr6perly speaking, to lack nothing.
We've certainly not managed to shake off the fascination with lack
(abyss, nonplace, mourning, absence, etc�) which, while clearly necessary
for the recent history of thinking, no less clearly runs the risk of a dialec
tic-nihilistic confusion. And yet, it's not as if "to lack nothing" (to be in
sense) is the full, satisfied condition of an essence. The negative theology
of all that could hardly be more obvious. To lack nothing, despite every
thing that's lacking: this is what it means to exist.
In an entirely different register, Heidegger speaks of "being charged
with a responsibility [Oberantwortung] toward beings" and "toward oneself
as a being." This means having to respond to the fact that there are beings
and that I "myself" am. Hence, "understanding" of being is "the essence of
finitude." Finitude resides in the fact that existence "understands" that "be-
A Finite Thinking 13
ing" does not rest on the foundation of an essence but uniquely responds to
and ftom the there is of "being." In other words, it is a matter of responding
to and ftom oneself as the exi1!ting of an existence. Finitude is the responsi
bility ofsense, and is so absolutely. Nothing else.
And so I would also want to add: finitude is the sharing of sense.
That is, sense takes place on every occasion of existence alone, on every
singular occasion of its response-responsibility; but this also means that
sense is the lot, the share of existence, and that this share is divided be
tween all the singularities of existence. (From which it follows that there is
no sense that could engage merely one being; from the outset, community
is, as such, the engagement of sense. Not of a collective sense, but of the
sharing of finitude.)
Another name for this is "freedom." Under:stood thus, freedom is not

a sense conferred on existence (like the senseless sense of the self-constitu
tion of a subject or freedom as an essence). Rather, it is the very fact of ex
istence as open to existing itself This fact is sense.15 Indeed, it is the only
fact that makes sense by itself And this is why, amongst the thinkers who
have come before us and who, at the point at which one epoch touches on
another, have still expressly attempted to think "sense," not one has failed
to demand that freedom be seen not so much as the means to but as the
very being or truth of sense. Such is the case, most visibly, with Mm and
Heidegger (as Same clearly saw). So, too, Rimbaud, albeit in an entirely
different way.16
These thoughts produced the rupture of the century, measuring up
to the "death of God" because they show, or at least sl:lspect, that what is at
stake here is sense, all sense-and that it's not "freedom" that is sense (the
discourse of the Enlightenment, of Kant and Hegel), but sense that is free
dom, as finite sense or as the infinite absenting of the appropriation of
sense. "Freedom" (if we need still to hold onto this word) is the act of the
distress or the necessity (Not) of sense.
But, whether in sum or in part, these tho:ughts are over. They
thought to close off the loop of first and last signification: man's self-pro
duction, the heroism of the abyss and of destiny, or the mastery of con
sciousness, definitively unhappy though it may be.17 Doing so, they denied
the finitude that they had seen on their horizons. Put differently, they
14 THINKING
ended up exploiting the "death of God," reconstituting or refounding an

infinitely appropriated or appropriable sense, up to and including its neg
ativity. But the "death of God"-as this history has taught us-cannot, by
definition, be exploited. We note it, and think after it. That's all.
This is why the· century was broken apart, split, opened on the "ques
tion" of sense. On the one hand, we have the final deployment of the
senseless, simultaneously monstrous and exhausted. On the other, we have
the weakened, distraught; or maudlin thought of the little -or -no sense
(the absurd game of the tatters of "humanism"). Finally, we have the im
perious necessity of the themes of the condition of po�sibility for sense in
general: forms, procedures, fields of validity, forces, the interplay of every
thing that produces or seems to produce effects of sense-logics, lan
guages, systems, codes (everything that used to be called "formalism," even
though its only concern was with finding new approaches to the question
or the task of sense).
This history has today provided us with the motif of sense placed un
der the need to think its finitude, not to fill it or to pacif)r it, and certainly
not to do so through the insidious movement of a negative theology or on
tology, in which the senseless ends up closing off sense itself So not this,
then, but to think anew and with all rigor the inaccessibility of sense as the
very means of accessing sense, an accession that takes place not as some
thing inaccessible but as an in-accession to itself, to the suspense, the end,
the limit at which it simultaneously undoes and concludes itself without
ever mediating between the two; 18 A finite thinking is one that rests on this
im-mediation.
Ifour concern here ought to be with "freedom," this isn't, let me say
again, because it's something like "freedom" that "fulfills" sense (and cer
tainly not in the sense that human freedoms calmly play in the empty
space of divine necessity). No, it is because "freedom" might just be the
word, albeit provisional and uncertain, for what exposes this lack of sense
and exposes, too, sense as an essential lack. Hence, the sense of "freedom"
is nothing other than the very finitude of �ense.
Our history has often been presented as the process of a collapse or a

destruction of sense in the planned savagery of a civilization at its limit, a
A Fintte Thinking 15
civilization that has itself become the civilization of the exterrriination of

the sense not merely of "civilization" as a whole but of sense itself.
This distress or this disarray, which, until this moment, nothing has
alleviat�d, still pertains to sense. Indeed, in the West's own terms, it is per
haps the greatest distress and the greatest necessity of sense-so long as we
can actually take such a measure and so long as the representation of an in
commensurable distress, inscribed behind the great events and the tri
umphs, is not necessary for each epoch-as jf the West had given itself this
law or program.
. We might now be able to say that this distress and necessity, as ours,
as the distress and necessity of our present history-of this "time" of our
being born to sense-must be understood as the distress and necessity of
finite sense. In this regard, it doesn't really matter whether we call ourselves
"modems" or "postmoderns." We're neither before nor after a Sense that
would have been nonfinite.Rather, we find ourselves at the inflection of an
end:whose very finitude is. the opening, the possible-the only-welcome
extended to another future, to another demand for sense, one that not even
the thinking of "finite s�nse" will be able to think through, even after hav-
ing delivered it. ,
A finite thinking is one that, on each occasion, thinks the fact that it
is unable to think what comes to it. Of course, it isn't a matter of refusing
to see ahead or to plan. Rather, a finite thinking is one that is always sur
prised by its own freedom and by its own history, the finite history that
produces events arid sense across what is represented as the infinity of a
senseless process.19 And this is also why, in our own time, it's pointless to
seek to appropriate our origins: we are neither Greek, nor Jewish, nor Ro
man, nor Christian, nor a settled combination of any of these-words
whose sense, in any case, is never simply given. We are neither the "ac
complishment" nor the "overcoming" of "metaphy sics," neither process
nor errancy. But we do exist and we "understand" that this existence (our
selves) is not the senselessness of a reabsorbed and annulled signification.
In distress and necessity we "understand" that this "we," here, now, is still
and once more responsible for a singular sense.
. Now, our distress manifests itself under four different headings: ex
termination, expropriation, simulation, techniciiation. Every discourse
that deplores our time draws on these four motifs. (Are there any dis
courses on our time that do other than deplore it? Distress itself has be
come an object of intellectual consumption, from refined little nostalgias
'I"::' "
16 THINKING
to punk nihilism. Which shows us, as if we needed to be shown, that the

truth of distress lies elsewhere.)
Extermination: in camps, by force of arms, by labor, by hunger or

misery, by racial, national, and tribal hatred, and by ideological rage. Just
reading the daily newspaper becomes an exercise in endurance and ac-
I
countancy. The extermination of persons, of peoples, of cultures, of the
South by the North, of ghettos and shanty towns by immense conurba
tions, of one part of the South by another, of one identity by another, de
portations and drugs of every kind, "To exterminaten means "to finish
w'ithn ("final solutionn), and here that means to abolish the very access to
the end, to liquidate sense. In the history of humanity, there's nothing new
about crime, or about massive destruction. But here is a kind of general
and polymorphous manhunt, articulated in an enormous economic and
technological network, as if sense, or existence, were ready· to finish them
selves off, in order to do away with the end that was proper to them.
The question of evil has always been posed-':"and "resolvedn-
y
against a horizon of sense that ended up (without ever reall ending) by
converting or transforming its negativity.20 There were two possible mod
els for this conversion (crudely, we could call them the ancient and the
modern, even though their actual manifestations were far more complex
than this). First, there is the model of misfortune, of unhappy fate or tragic
dystychia. Evil in this sense is given or destined [envoye] to existence andto
freedom as such. It comes from the gods or from destiny and it confirms
existence in its opening to or as sense, regardless of whether this entails the
destruction of life. This is why evil is borne, recognized, lamented, and
overq)me by the community. Terror and pity are responses to the curse or
malediction.
Then, second, there is the model of sickness. It confirms the norma
tivity of the norm in the very act of rupturing it. Evil in this sense is an ac
cident (and, in principle, can always be mended) and belongs to a lesser or
der of existence, if one that's not actually null and void. Ultimately, in the
classical universe, evil does not exist at all, except as a surface appearance,
and death is by right absorbed or resolved (by the progress of knowledge,
as in Descartes, or in universal exchange, as in Leibniz).
The evil of extermin�tion is quite another thing: it is evildoing (or
wickedness}.21 It does not come from outside and it is not something less
than being; rather, existence is unleashed against itself. Here, evil affirms it
self and affirms its (metaphysical, political, or technological) right. It
seems-and this is a new thought-that existence can grasp its own being
as the essence and hence as the destruction of existence and, moreover, as
the senseless insanity that closes off the aspect of existence that opens onto
.to the need for sense. Extermination doesn't just exterminate en masse or
totally; it exterminates "distress" itself. After all, the two go hand in hand:
the immensity of the mutder bringing about the negation of the singular
ity of each instance of "distress" and each "necessity" of sense; it is the
negation of the "eachness" of sense, of being-toward-self.
So from now on, we have to stay with the following implacable, per
haps even revolting, thought: finitude is so radical that it is 'equally the
opening of this possibility in which sense self-destructs. Finitude is sense as
it absents itself, up to the point where, for· a single, decisive moment, in
sanity is indistinguishable from the sense that is lacking. (No doubt we
ought also to ask: has this ultimately taken place? If it has, wouldn't every
thing already have been destroyed? But then our question would have to
be: hasn't everything already been destroyed? And if it is not, if beirig-to
ward-sense resists, and resists absolutely (and if it didn't, who would be left
to have the "sense" of "evil"?), it resists at that very realpoint where insan
ity becomes indiscernible from the sense that is lacking.)
To discern within this indiscernible: that is what freedom ultimately
boils down to. To discern senselessness without the help of 5ense,22 not
with nothing to hand, to be sure, but with that part of (the being of ) exis
tence that we already have in Out grasp. To be deprived of rules, without
being deprived of truth.
It is in this sense alone, then, that an ethics is possible. What this
means is that we can't fall back on an ethics of "misfortune" or an ethics of
"sickness," whose use can, for us, only ever be analogical and provisional.
It has to be a matter of an ethics of evil as wickedness. This doesn't require
the norm or value of some "good" or other; the access of existence to its
real sense is not a "value" that we could promise to the infinity of a good
will. Precisely because this access can never be appropriated as a "good,"
but because it is the being of existence, it is and has t� be presented in ex
istence as existence. Here, "having-to-be" is the form taken by "be�ng,"
since this being is to-be. But "duty" doesn't point to the infinite realization
of a "kingdom of ends." Instead, it obligates freedom; or, more accurately,
18 THINKING
it is freedom that binds and obligates itself, punctually, immediately, with

out delay, as its own end, in both senses of the word. Freedom obligates it
self imofor as it does not appropriate its sense for itselfand, too, insofar as it
open to the senseless. We might say, then, that being (the being of exis
tence) is duty; but duty indicates the finitude of being, its missing sense.
We're not proposing a morality, but a tendency to conserve and to
augment the access of existence to its own inappropriable and groundless
sense.23 An ethics is not only possible, but certain to emerge, carried along
by what we already know about being. This doesn't mean that all practical
decisions can be considered, negotiated, and taken swiftly and simply.
Rather, it means that if the call for an ethics is today a constant testimony
to our distress, distress already knows what ethics amounts to: the restora
tion of existence to existence. Clearly a "humanism" isn't going to be
enough here, since it would obscure the very need for this restoration.
(And does it need to be said that every human life has an absolute and im
mediate right to what, in a civilization such as ours is supposed to be, is
called "living"?)
Expropriation: there is a big difference, actually an opposition, be

tween treating the inappropriability of sense as what is most proper to fini
tude and expropriating from beings their conditions of existence. In other
words, thinking about the lack of sense does not entail abandoning the cri
tique of what, following Marx, used to be called "alienation." Nor, more
over, is it a question of regarding the material, economic, and social condi
tion of men as a negligible happenstance, external to the domain in which
a thought of finite sense would operate.
The "material" condition of exist�nce is, on the contrary, each time
what makes up the "each time." A place, a body, flesh, a gesture, a job, a
line of force, an ache, ease or misery, having time or into time: these define
the finite each time of any access to finite sense. They don't "determine" it
in the sense of a causal instance; rather, they are it-and even when the en
tire dualistic arrangement of our vocabulary and our discourse (even when
it tries to be "monistic") tends to obscure it, a thinking of finite sense is es
sentially a "material" thinking about the "materiality" of the access to
sense. Because sense is finite, there is no reaching outside of this world. Be
cause there is no "outside," it can't be reached.
The "philosopher"· who talks about "sense" is, along with his
thought, nothing other than a material singularity (a packet of "sel).se," a
place, a time, a point in history, a play of forces), who cannot, after all,
guarantee that we are any nearer to the "sense" that is in question. The
thinking of finitude is itself afinite thinking because it has no means of ac
cess to what it thinks, not even through thinking that it has no such access.
There is no privileged "speculative" or "spiritual" order in the experience of
sense. Yet existence alone, insofar as it is, hic et nunc, is this experience. And
the latter, always and each time, is an absolute "privilege," which, as such,
misidentifies itself qua "privilege" and qua "absolute." There's nothing to
say about when or how such an existence exists. ("To write"-and I will
come back to this-is to say this not-saying.)
But there still has to be something or some "one" who can exist.
Some being must be, hie et nunc. Existing is a here and now of being, it is
to be a here -and now of being. There are conditions in which this is not
possible-and even if existence, undoubtedly, always and without end, re
sists, even though it resists to the very end and beyond, and even though we
can never simply say "this life has no meaning," there are still circum
stances in which beings are not only abandoned, but in which they are, as
it were, stripped of the conditions of existence. When this happens, beings
are the pure instrument or object of a production, of a history, process, or
system, always deported in advance from the here and now, always and
only in the elsewhere and in the afterward of hunger, fear, and survival, or
of wages, savings, and accumulation.
All the same, not being expropriated by the hic et nunc doesn't mean
that we appropriate it for ourselves. There's no symmetry. Hie et nunc
means merely to exist; it is finite existing "itself." Granted, we can never
say that "this life" or "this moment ofIife" "makes no sense." But precisely
because we can't decide with respect to sense, we can't decide-we can
least of all decide-'-that all conditions are the same. Yes, every existence is
in sense; but no one can consequently decide that the condition of possi
bilityfor certain existences is and has to be a sacrijiceof life (of all forms of
"life"). Since the here-and-now is finitude, the inappropriability of sense,
every appropriation of the "here" by an "elsewhere:: and of the "now" by
an "afterward" (or by a "beforehand") is and does evil
How are we to decide what makes a "here and now" possible and to
decide what does not "alienate"? Nothing and no one can decide this. Each
time, however, a here and now, an existing, must be able to decide to be,
20 THINKING
and to be open to sense. Each time, being has to be allowed to be, delivered
and abandoned to its finitude.
- Is this any different from the reputedly "normal" conditions for the
exercise of basic freedoms, which presuppose life itself and a few other
guarantees? In a sense, it is not-today, at least, and for us. But it must be
so in that this "leaving," this "abandonment," is presented to beings as
their very finitude. That is to say, the gesture doesn't refer to a horizon of
"visions of the world" and of "man," one in which an essence and a sense
would already be decided and within which would be exercised the "free
choice" of a "subject," actually already "alienated" by this horizon. On the
one hand, there are basic conditions (on which civilization wreaks constant
havoc) whose empirical basis is also the "transcendental" of the here and
now of existence. On the other, there is this: in letting the finite being be,
jinitude as such must be indicated.
This demands an altogether different thinking of "alienation" or "ex
propriation" (or indeed of "exploitation"). Altogether different, yet just as
uncompromising as that of Marx when faced with the "primitive accumu
lation " of capital.
"Alienation" has often been represented as the dispossession of an
original authenticity which ought to be preserved or restored. The critique
of this notion of an original propriety, an authentic plenitude or reserve,
contributed, in large part, to the disappearance of alienation as a figure for
the loss or theft of man's original and ownmost self-production. In fact, ex
istence is not self-productive, even if it isn't the product of something else.
This is also what jinitu�e means. Nevertheless, it remains the case, as we
have seen, that beings can have their condition or conditions of existence
expropriated: their strength, labor, body, senses, and perhaps even the
space-time of their singularity. Equally, it's true that this is still happening
and is part of extermination as we've just described it, and that "capital" or
the "global market" only endutes and prospers by a massive expropriation
of this sort (and today, above all, of the South by the North, even though
we know that this isn't the only expropriation of its kind). It isn't a ques
tion, therefore, of giving up the struggle, but of determining in what name
we carry it on, in what name we desire the continued existence of beings.
Up until now, the struggle has been guided by the regulative idea of the
(original and final) self-production of man and, at the same time, by a gen
eral and generic concept of this "man." Undoubtedly the conditions of
struggle are going to change if that struggle must now be thought with ref
erence to finitude and its singularities. Access to finite sense does not pre-
suppose auto-production and its reproduction, it "desupposes" it. It de

poses the reign of process and the linking of time to the logic of process
and procedure: that is, a linear, continuous time, without space (of time),
and always pressed up against its own "after." (The Heideggerian time of
"ecstasis" is also undoubtedly too pressed or hurried) But access implies, on
the contrary, the opening up of time, its spacing, the de-coupling of pro
ductive operations: the finite here -and now. And it implies that the latter
be grasped in forms other than those subordinated to process, such as
"empty time," "recovery time," and also "leisure time" (where "leisure,"
and that includes "culture," means inanity with respect to sense). It im
plies, in other words, the space-time of the here and now: concrete fini
tude.24
Birth and death space, definitively, a singular time. All access to sense,
to what is "finite" in sense, spaces the time of general reproduction. Access
produces nothing, and is not producible. But it takes place-if it is possi
ble to say such a thing-as the inappropriable singular materiality of a here
-and now. Let us say this: as enjoyment-if the notion of enjoyment is not ,
that of appropriation, but of a sense (in all the senses) which, here and
now, does not come back to itself
Simulation: the truth of '68, which the opinion mal{ers stubbornly

try to twist or obscure,25 is twofold (provided one looks for it beyond the
developmental crisis of a slightly backward society). On the one hand, it
involves the emergence of new and previously unheard of forms of social
struggle that do not conform to the syndicalist-political model. This is ,not
the place to discuss these. On the other hand, '68 unleashed the critique of
the society of the "spectacle" (this was the word used by the Situationist In
ternational), of seeming or simulation. From the Marxist heritage of a cri
tique of social and cultural appearances emerged a general denunciation of
a reality represented as entirely given over to the simulation of its true na
ture, and of social, political, and, ultimately, human reality.26
This critique was made-and achieved posterity-under the sign,
once again, of "alienation" (again, this was the word used by the SI). Gen
eral simulation alienates life by tying it to the reproduction of the functions
of the "market-spectacular society" and prevents it from tapping into the
creativity it harbors, blocking the desire to create which constitutes the real
22 THINKING
man. There is no point in repeating the critique of the duality of alienation

and original authenticity which this account presupposes. No doubt the
"life," "creativity," and "imagination" invoked here belong to a metaphysics
which is still that of auto-production or the subje�t, of the generic subject
man. The great theme of simulation, which still proliferates today, is not
free of Platonism.
All the same, the soixante-huitarde version of the critique of appear
ance, more Nietzschean than Marxist, was an "artistic" one. (In fact, that
tendency is not entirely absent in Marx). This version subtly altered the
themes or schemes of a critique of inauthentic appearance (especially when
care was taken, the artistic model notwithstanding, not to fall back into
aestheticism). This discrepancy can be formulated as follows: "creation" is
not production, not so much because it operates on the basis of nothing,
but because it operates for nothing, for no purpose other than to leave the
"creator" surpassed, surprised, ravished by his or her own creation. Finally,
however, it is still a question-in a sense, more than ever a question-of a
. subject acceding, infinitely, to his own sense. And that is why the model has
remained, up to now, essentially linguistic, verbal, and poetic.
How, then, should a thinking of finite sense handle the theme, so in
sistent and insidious, of simulation? Here all theologico-aesthetic schemes
give way: essentially (for which read: existentially), existence lacks a sense,
in the form of a God or a work, and belongs to this lack.
The more or less confused suggestiveness of "authenticity" prevented
us, in '68, from coming to grips with this lack. However (and this is why
it is crucial to recall what emerged in '68), the critique of the "spectacle"
undoubtedly revolved, albeit obscurely, around something like this: no
form, image, or game, no "spectacle" even, is worth much if the sense of ex
istence is not implied in it in some way, is not touched by it. Everything else
is consumption of "cultural goods." And the critique of production is
worthless if it does not include the critique of what could pass itself off as
the production of sense itself. Which means (if the interpretation of an in
tellectual movement may be pushed farther than that movement was able
to think) that what is at stal<:e is not the representation ofa presence but ac
cess to existence, which is not presence, access as exiguous, fugitive, and
excessive, and also as lacking, as it could possibly be. Thus, without a
doubt, the critique of general simulation is mistaken about itself: it is not a
question of simulated or simulating (and dissimulating) representations,
but rather a matter of what does not pertain to representation at all.
Today, in a certain way, "simulation" just proliferates., Moreover, it

has spread out to such an extent that it presents arid takes pleasure in itself
at the same time as it undoes itself: ultimately spinning in a void-rather
like a television set that no One is watching. Thus any critique which seeks
to destroy simulation and accede to the authentic, the real, or "life" is
blunted, because the simulacrum can no longer mask anything. The "sim
ulacrum," most often understood as a sort of "image," merely presents its
enigmatic nudity as image. Art, for example, has long drawn the rigorous
consequences-,-often in impoverished fashion, it is true-of the end of art
as the representation of the absolute, the Idea, or Truth.27 But in this way
it opens up the question of what "art" could mean.
It is thus the realm of representation in its entirery which spins in the
void once the presupposition of complete presence and of a closed circle of
sense is exhausted. This presupposition is still lodged, if only in a negative
form, in the modern and postmodern tradition of a "presentation of the
" unpresentable"-if: in the final analysis, the "unpresentable" can only be
conceived of as infin ite. Whether this infinite is "good" or "bad," monu
mental or fragmented, surrealist or Situationist, expressed in great art or in
a great life, it is always the indication of a secret nonpresence.
Now, if all there is is the finite-if the there is [il y a] is finite-,-then
everything is presented in it, but in a finite presentation which is neither
representation nor the presentation of something unpresentable. The noth
ing that existing lacks, this zero of sense which makes sense (but which is
not a secret), comes to presence-and in art, or in what we should now
call by another name, this is what we are dealing with. Which implies that
any problematic of representation (of all see�ings and all signs also) turns
on an axis so fine that we can barely make it out. The issue of "simulation"
changes completely if mimesis28 becomes the concept, not of any repre
sentation, but of a presentation of that which does not have to be presented,
of what could not be completed, neither Nature nor Idea, which is to say,
finitude itself: insofar as it is a coming to presence without presence (arid
with secrecy).
Thus it is no longer a question of (re)presentation: neither presenta
tion for a subject, nor the reproduction of an initial presence. The banish
ing of this double concept also supplants all simulation. (This does not
mean that there is truth in every image and in every spectacle. Rather, it
means that "truth" is no longer sought for in the regime of representation.)
It is a question of what coming or birth to presence means. To exist: the com-
24 THINKING
ing to presence of absent sense, sense coming to its absence, to the absent
ing of all presence and any present. It is a question, furthermore, of a
'
mimesis that one could try calling mimesis of appresentation, on condition
that one hears in the prefix the sense of spacing,. of distance." " Presenta-
. . . . .
tion" as the spacing of sense.
Technicization: "Technology" is without a doubt one of the most ill

formed concepts in current discourse (which only leads to more chatter
about it). Already, the unqualified use of the term obscures the fact that
there is no technology that IS not technology ofsome determinate opera-
, tion or other (be it chimney-sweeping or . the recording of the images cap
tured by a space telescope). The vague idea of a general technology, a sort
of vast machinic or combinatorial apparatus embracing technologies, has
gotten about. Undoubtedly, the interdependences, interfaces, and interac
tions between technologies never cease to multiply. Nevertheless, transport
technology remains transport technology, fertilization technology remains
fertilization technology. One would be hard pressed to identifY the ab
solute nexus of all technologies. The representation, in comics or in the
cinema, of a single, gigantic, universal computer presupposes the resolu
tion, in this computer, of the question of what technology (taken ab
solutely) is the technology of But if one wishes to ask this question, the re
sponse is there, and was available before the computer and the giant
puppet show of universal robotization. Technology "as such" is nothing
other than the "technique" of compensating for the nonimmanence of ex
istence in the given. Its operation is the existing of that which is not pure
immanence. It begins with the first tool, for it would not be as easy as one
imagines to demarcate it clearly and distinctly from all animal, if not in
deed vegetable, "technologies." The "nexus" of technologies is existing it
self Insofar as its being is not, but is the opening of its finitude, existing is
technological through and through. Existence is not itself the technology
of ruiything else, nor is techn�logy "as such" the technology ofexistence: it
is the "essential" technicity of existence insofar as technology has no essence
and stands in for being.
"Technology"-understood this time as the "essential" technicity
that is also the irreducible multiplicity oftechnologies-compensates for
the absence of nothing, it fills in for and supplements nothing. Or again:
:.. . ' � .' , .. . . . ..

• • • • • : <Ill �
" cr
technology compensates for a nonimmanence, that is to say, for an absence

of what is represented as a "natural" order of things, in which means are
given along with ends, and vice versa. It is, in this sense, transcendence
over "nature." But nature represented as pure immanence would be that
which does not pertain to sense, and which does not exist.29 In which case,
technology transcends-nothing. Or else "nature" designates an exter'ior
ity of places, moments, and forces: technology is the putting into play of
this exteriority as existence, a "transcendence" not opposed to the "imma
nence" of the world. Technology doesn't reform a Nature or a Being in
some Grand Artifice. Rather, it is the "artifice" (and the "art") of the fact
that there is no nature. ( Law, for example, is also a technology or tech
nique.) So much so, in fact, that it ultimately designates tha'!: there is nei
ther immanence nor transcendence. And this is also why there is no tech
nology "as such," merely a multiplicity of technologies.
"Technology" is a fetish-word that covers over our lack of under
standing of finitude and our terror at the precipitate and unbridled char
acter of our "mastery," which no longer knows either end or completion.
Undoubtedly our incomprehension demands a new sort of thinking, and
our terror is not baseless. But we will gain nothing from exorcising a purely
verbal demon, one that is a false concept. It is quite remarkable that Hei
degger's theses on "technology" have become the most "popular" part of
hi� thought. This happened for two reasons. First, the most important con
tribution of this thinking appears to lie in a denunciation of the "ruthless
conquest," total and leveling, of the earth, for the sal(e of autonomized
aims deprived of any existential guarding of being. Insofar as Heidegger
put forth this discourse (and he did), he was less original there than almost
anywhere else in his work. (With a symmetry that is not accidental,. the
same could be said of some aspects of his treatment of poetry.) The de
nunciation of "technology" is the most banal, and the most vain, gesture of
the "technological" age. But, second and more remarkable still, we almost
always forget how Heidegger (in a smaller number of texts, it is true) tried
to formulate at least the demand that "technology" itself be understood as
the "sending of being," as being sending itself as its ultimate message:
which means, as existence and sense themselves. Thus dispatch or sending
is the finite sense of being as the final sending (outward) of the West. To
"inhabit" technology, or to "welcome" it, would be nothing other than in
habiting and welcoming the finitude of sense.
I don't want to take Heidegger's thinking any further than this, any
� Bojazici Oniversitesi KOtOphanesi �

26 THINKING
more than I want to claim to have "solved!' the, "question of technology." I

want simply to situate it, in the knowledge, as I have already said, that bur
incomprehension and terror are not groundless. This is also to say that fini
tude is limitless, and that humanity can destroy itself in the implosion of
its technicity.
It is entirely legitimate to say that the current movement of techni
cization is accelerating and proliferating, and that in it technologies are
constantly multiplying and transforming th�mselves, weaving a network
that is ever more dense. How, though, can we avoid asking whether tech
nicization-the development of technologies-may not actually be a law
, that was laid down with the very first technology or, more exactly, whethe;
growth and proliferation, to the poiIit of panic, may not actually belong,
rightfully or in essence, to a gesture of compensation-with no prospect
of that which is compensated (an immanence) ever coming to being? It is
no accident that the comforting dreams of a return to a "degree zero of de
velopment" were quickly extinguished by their own insignificance. Today,
we know that a well-thought-our ecologism determines new technological
advances.
By contrast, we could quite legitimately point to the role played by
technologies in extermination, expropriation, and simulation. But there's
no sense in imputing these to "technology," as if it were some sort of dia
bolical entity, because no such entity exists.30 Moreover, there is no point
in adopting a moral discourse about the "evil uses" to whi� , technologies '
are put. Nor is it a question of employing technology "beneficently" in the
name of some pre-existing "good." Rather, it is a matter of getting at the
sense of "technology" as the sense of existence.
What manifests itself as irresistible global technicization is accused of
having no other end than itself (I'm leaving aside the ends of the market
and of expropriation.) What if this "end," which can no longer be repre
sented as the reign of robots, or even of computers (but only, at the limit,
as total implosion), what if this end, which is in effect only in an indefinite
technicization, also exposes its finite sense? What if it also exposes us (in
hardship and trouble) to the finitude of sense? The "reign of technology"
disassembles and disorients the infinite sealing off of a Sense. In the same
way, undoubtedly, as it disconcerts and displaces, endlessly, the completion
of a "work," in such a way that technicization could, in all rigor, be called
"un-worked," or without work [des-a'uvree] .31
Instead of returning nostalgically to pious images (or essences) of the
. . ... ' . � ... .. . . . .. I .

artisan and life in the fields (an old refrain, as old as our history), this
would be a matter of thinking the following: that all technology, over and
above the technology that it is, and in being the technology that it is, con
tains an implicit knowledge of sense as finitude, and of the sense of fini
rude. Nothing, perhaps, better bears this out than the questions, demands,
and undecidabilities which subtend the decisions that have to be taken,
each day, by the technicians of biological, ecological, energetic, and urban
manipulation.
Each one of these tasks requires a finite thinking.

Not a thinking of relativity, which implies the Absolute, but a think
ing of absolute jinitude: absolutely detached from all infinite and senseless
completion or achievement.
Not a thinking of limitation, which implies the unlimitedness of a
beyond, but a thinking of the limit as that on which, infinitely finite, exis..:
tence arises, and to which it is exposed.
Not a thinking of the abyss and of nothingness, but a thinking of the
un-grounding of being: of this "being," the only one, whose existence ex
hausts all its substance and all its possibility.
A thinking of the absence of sense as the only token of the presence
of the existent. This presence is not essence, but-epekeina tes ousias-
birth t'O presence: birth and death to the infinite presentation of the fact
that there is no ultimate sense, only a finite sense, finite senses, a multipli
cation of singular bursts of sense resting on no unity or substance. And the
fact, too, that there is no established sense, no establishment, institution or
foundation of sense, only a coming, and comings-to-be of sense.
This thinking demands a new "transcendental aesthetic": that of
space-time in the finite her� and now, which is never present, without,
. however, being time pressed up against its continuum or its esctasis. Fini
rude: the "a priori" irreducibility of spacing. Equally, though, this think
ing demands the material transcendental aesthetic of the disparity and dis
location of our senses, our five senses, whose organic and rational unity
cannot be deduced or grounded.32 The division of the five senses, which
one could say is emblematic of finirude, inscribes or exscribes the division.
of finite sense.
As for the "transcendental analytic," it should present the disparity
28 THINKING
and dislocation of the five senses and the sixth, that of the concept. A
schematism which does not return to the homogeneous. A "hidden art" for
which no secret is any longer to be awaited.
No doubt, an "art" (a "technique") is always the clear consciousness
(if it is a "consciousness") of the splitting and sharing of sense and the
senses, of their absolute difference and of the very sense of what it displays.
However, a finite thinking cannot be an aestheticizing thinking, nor aes
thetic in the sense in which every thought of the beautiful, and even of the
'I
sublime, has insisted, up until now, on extending to infinity (imprison
ment, revelation, or secret) the arc of finitude.
A finite thinking follows this outline: only to retrace it. A finite
thinking does not add to existence the seal or confirmation of its sense. It
simply takes up the challenge of that wb,ich "we understand already and
without end":. the being that we are. Thinking, here, is coextensive with ex
isting, and consists in thinking this thought: that being-for-itself does not
turn back on itself. This doesn't mean that it would be enough to "exist"
(to be there, in the most banal sense of the term) in order to think, or that
thinking (in the banal sense of forming representations) is sufficient for ex
isting. It means, rather, that the fact of existence cannot be its own truth,
which is to be the fact of a sense--and that the concept and the significa
tion of sense cannot be its own truth, which is to be the sense of this fact.
It means that existence must be thought, and thought existence, in order
that it is-'--in order, simply, to be.
We bump up against an empty circularity here, in which the mean
ing of each of these words evaporates. In truth, though, meaAing or signi
fication is being exhausted here. Here, words are no longer j�st words, lan
guage is no longer just language. It touches its limit, and displays it. There
is no longer "sense" as the meeting-point of all these meanings. In the same
way, there is no concept as the auto-conception of the concept, nor as the
presentation of a "thing in itself" And man is not the auto-production of
his essence. But sense is the sharing and splitting of language thanks to
which language does not complete itself (n9r initiate itself ): the difference
between languages, double articulation, the differance of sense, the sharing
of voices, writing, its exscription.
Yet here we discover that thought, which is language, is, however, not
language. Not because it is "something else" (something fuller, more pres
ent), but because language itself, in "essence," is not what it is, does not
confer the sense that it endlessly promises. A finite thinking inhabits, .
writes (in) the finitude that language is, which it displays or exposes. We
could say, then, that a finite thinking makes itself adequate to the existence
it thinks. But this adequation is itselffinite, and it is there that access to the
missing sense, or its inappropriation, obtains.
How can and must this thought, given over as it is to what is not
sense [remise au pas-de-sens] as its ownmost object, be written? This is what
it does not and cannot know, and what it must invent for itself each time
a single invention alone is possible, all discourse being suspended.
Very quickly, we are threatened by the unbearable preposterousness
of "doctrine." The more we repeat "finite thinking," the more we risk con
juring up the specter of a "system." Or, more simply, the pitiful shadow of
the "answer to all questions." But it's precisely "answers to all questions"
that have saturated us and worn us out. No, "finitude" isn't a new response
or a new question. It is, as I've already said, a responsibility before the not
sense that affects all sense, before what has to be and has to constitute our
sense. A responsibility of thinking taken to the limit of all our meanings
and; consequently, also, as I have continually been trying to show here, the
meaning of "finitude." There is no sense .of the words "end" and "finite"
that would 'allow us to think that whose index, held out at the very limit of
our history, bears the name "finitude"-or the name the absolute ofexis
tence. There can be no doctrine or system here. Only rigor.
It's no accident that contemporary philosophy-especially in its
French singularity-has done its thinking with a formidable mobilization
of language �d writing (often called "rhetoric" or "affectation" by those
who are oblivious to the epoch and don't feel the heaviness and difficulty
of thinking). Once again, as happens with every great rupture of sense,
philosophy no longer writes in the same way. Nor does poetry. Perhaps
"philosophy" or "poetry" will no longer be written as such. These illim
itable words carry the entire weight of a question of sense, and most of all
carry the proposition that a "question" of finite sense isn't a question that
could be articulated in terms of sense, even as we can't disarticulate it in
terms of some non-sense. Hence, it's not even a question. Not "What is fi
nite sense?" but simply, "The finitude of being suspends the ' sense of that
which is sense." How do we write that?
Rimbaud: How to act, 0 stolen heart?
There is real disappointment here, and suffering: and this is why
thinking is hard. But the disappointment comes from waiting and from
expectation, and there's waiting and expectation because there is, already,
30 THINKING
sense. This isn't a promise that might or. might not be kept. Nothing is
promised to existence. Hence disappointment itself is sense.
This is what has to be thought, therefore. And it is not absurd. It
makes or constitutes existence (as well as community, history, and free
dom). Blit thinking "it through brings thought to an end: only a finite
thinking can take the measure of this extremity. The part of finite sense
that is left over is only vestigial and fragmentary. There is nothing to record
and take down; that's what sense is; that's all, end of story. We've always al- "
ready said too much, thought too much. Yet we've never said enough, be
cause each time it starts all over again. And what is this "each time" of ex
istence? A "here and now" ? What is a birth, or a death, a singular coming
to presence? How many times does this take place in a life? In a history?
And how many times in a community? And what is the "one" in a com
munity? The event of sense, insofar as it is lacking, is neither the continu
ity of a substance nor the discrete rarity of an exception. It is being, the
thinking of which is the ontological ethics of this "neither . . . nor," held in
strict abeyance, unsublated, above the abyss.
Here, thinking burrows back to its source. It knows this source, its
very being, as what is, in itself, neither thought, unthought, no� unthink
able, but the finite sense of existing. Thinking burrows back to its source
and so, as thought, opens it and drains once again as it both gathers and
scatters it. Thought has to think itself as what loses itself in thinking-nec
essarily, if the sense that it thinks is the sense of innumerable finitudes and
appropriations of nothing.
We might be tempted to · write: "If a. finite thinking never sees the
light of day, ifit doesn't find its voice in writing, then we will have failed to
think our own times." As if, in such an injunction; we knew and antici
pated an essence of finite thinking, with its form, if not its norm. But no,
a finite thinking is already working, or un-working, already prior and al
ready posterior to what we can say about it, here or elsewhere. It's written
here, but before and after this "here," finishing it off already, and not yet.
Already for yesterday and tomorrow making and carrying sense away-a
thinking that can no longer impose itself, nor even propose itself, but that
must, with all its resources, expose itselfto what is finite about sense. Mul
tiple and each time singular-.what is a "time" or "occasion" of thinking?
what is a thought?-hard, entrenched, as material as this line of ink, but
still fugitive, a finite thinking. Just one.
Translated by Edward Bullard,
Jonathan Derbyshire, and Simon Sparks
2
Concealed Thinking
Perhaps more than ever-assuming such a formula can be allowed

we have become aware of how the eternal return of the same dead ends and
the same distress (to give just a few one-word examples: "values," "right,"
"war," injustice") lays bare and accentuates not just our exposure to the im
possible but also the manner in which this exposure measures us; that is to
say, gives us our measure as human beings, a properly uncompleteable
measure and one that can contain no conciliatory horizon.
Here, I want to engage Sartre and Bataille, knowing as I do that both
of them already knew about this exposure. They knew about it because of
having lived through an era not just of crisis but of contraction and con
vulsion. An era of revulsion. An era of nausea and exasperation, which we
still remember (and of which they are a part), though it is a painful mem
ory because it's not just the memory of a past, but one that reaches toward
the future like a voiceless souvenir of Western history, at least a memorial
of how, staggered and broken, history comys down to us; a memory, then,
whose unbearable insistence follows us. We say that we are in crisis or in
distress, but it was in Bataille's and Sartre's time that the boil was first
lanced: the terrifying insufficiency of all the various assurances of knowing,
believing, and thinking, and the necessity of confronting the lasting failure
of accomplishment [un inachevement durable], the impossibility of ending,
and even the responsibility of not ending.
Both Sartre and Bataille realized this, but not in the same way.
32 THINKING
What they realized ultimately lies beyond what is evoked by words

like "properly unachievable." Such words need to be heard literally. What
is properly unachievable doesn't hold its achievement at arm's length, like
a regulative idea, like an ideal receding into the heavens of Ideas or values,
nor does it hold out for its achievement like an inexhaustible act of mourn
ing. What is properly unachievable has a failure of achievement as a di
mension of its propriety or as its very propriety, absolutely' and uncondi
tionally. In short, it is not even a question of a failure of achievement,
therefore; it is a matter not of a negative nor a privative propriety but, but
somewhat clumsily, of the proper fullness of the proper. (Still, this clumsi
ness is itself the condition of the designation, not because of some linguis
tic defect but because language always says too much, always says more
than it says and says that it does so, hounding itself to the infinite extrem
ity of its saying.)
Ultimately, everything is going to turn on this point: whether or not
! to bring language-and hence thinking-into the ambit of this extremity.
No doubt it is this extremity, more than anything else, that sepa

rates Sartre and Bataille. And on this point Sartre commits (in a way that
is entirely understandable and that Bataille himself makes possible) a mis
take that draws a definitive line, not between the two men or between
two different "conceptions" (and we could, if we wanted, compare the
way in which each wants to escape the whole idea of "conception"), but
between two incompatible experiences or relations to experience, experi
ences that perhaps always divide up, between all of us, the apprehension
of the world today: that is, the apprehension of a vertiginous dissociation
of experience itself.
If it's true that there has, for us today, b�en a noticeable shift in the
language and style of philosophy-if it's true that there's been a shift, for
some of us at least and in certain aspects, away from the needy and formal
servility that characterizes the work of knowing and of thinking, not en
slaved in a cowardly sort of way, but ultimately still enslaved to the hori
zons of science and sense-then we owe this to Bataille more than to any
one else, to something that he not opposes to, but conceals from Sartre.
And that also means from philosophy. Of course; Sartre isn't just the
"philosopher" in all this, and Bataille knew better than simply to bid
Concealed Thinking 33
farewell to philosophy in a way that would ultimately be of little conse

quence to it. All the same, the contrast between them can certainly be
played out as the division between two different ways of relating to the ex
ercise of thinking, which also means, as the division between two different
relations to Heidegger, between two proximities to and two distances from
the thinker who suggested that the ,experience of our time be termed "the
end of philosophy and the task of thinking." In the details of what I am
going to sketch out here, we can see a division in or a tearing of the figure
of Heidegger.
Granted, Sartre is almost always concerned with an extreme limit of

thinking that no work or project of signification is going to be able to ap
propriate, since this extremity can't be given but is itself merely a gift re
sponding to the gift of a being whose "existence is a lost generosity by dint
of its being for no one."1 Still, in an almost paradoxical manner, Sartre
fails to recognize-particularly in Bataille's thinking-and fails torake re
sponsibility for a necessary, insistent motif that had already been ad
vanced and intensified through the very different ways of thinking pro
posed by Kierkegaard and Marx, Nietzsche and Heidegger, before
reaching its peak in Bataille: the motif not of a philosophical use, however
necessary that may be, but of an address to such a use, an address that, on
the basis of itself, carries an intimation of the extremity without which it
cannot think or without which it thinks precisely nothing, an extremity
that puts into play the very thinking that philosophy is in the business of
setting up. ,
What is at stake, then, is what stops thinking from being a thinking
of crisis or distress without being itself a thinking that is in crisis or in dis
tress; that is, without being a thinking that is not put into play as such, the
necessary condition if thinking is to protect itself as much from sufficiency
as from renunciation-and; consequently, the condition for thinking's be
ing able to take place on the level of what we share with Sartre and Bataille
as the modern tradition of the 'liberation of humanity.
What is at stalce is that which, without renouncing either critique or
the sear�h for "positive propositions," as we say, can no longer be satisfied
with its propositions without indicating the excess that has to overflow and
consume them, going beyond any sense that they might have had so as to
34 THINKING
give them a sense of the necessary effort and audacity of thinking itself. For
all that, however, this thinking does not sink into the pathos of skepticism
or of heroism; rather, it envisages directly the primitive and final fact of a
thinking secured by nothing outside its own freedom (neither "God" nor
"total man," nothing; then, ifwe can say that . . . ); there is no thinking, no
articulation of sense, that doesn't have something of the uncompleteable
about it, that doesn't exceed sense, like an intimation, a binding, implaca..;
ble obligation, logical as much as ethical, to conceal itself as thinking in the
very act of thinking "in order," if you'll allow me to risk the phrase, to be
thinking ("in order to make sense" and "in order to free itself"-and ifI'm
talking about "risk," it's simply in order to avoid the risk of introducing
any hint of a finality).
Bataille wants to consider thinking in terms of this intimation alone.

Sartre, by contrast, continues to believe that although the extremity
(which he certainly wants tl? acknowledge) can't be relinquished, it can, by
concealing and withholding itself ever more emphatically, give rise to a
discourse that is virtually infinite and capable of inspecting, not the limit,
but the movement of this displacement. With a single gesture, he situates
himself on the side of history and language, these being represented as the
two faces of a single work of infinite or indefinite pursuit, a work that
seeks to master the sense and liberation of a humanity, yes, defined by this
very freedom, but defined according to an ambiguity in which the conti
nuity of the movement in some way effaces the shattering of interruption
that marks the extremity of an active infinite. And it is precisely because of
this reserve that we mus't oppose Sartre to Bataille. But let me pause for a
moment in the face of what holds them closely together: what's crucial
here isn't the awarding of a victory (always a pretty questionable move in
the order of thinking), but better understanding a stake that is essentially
our own.
In a certain way, it' is Bataille as much as Sartre who wants to see hu
manity defined by its liberation-a humanity for the sake of this alone.
Both think only of the possibility of articulating the experience of a world
divested of origin or end (regardless ofwhether it's the divine or the human
name for this end), and thus of a world experienced as this divestiture;
taken as experience, however, this is no less the praxis of a sense and of a
truth-even, if you prefer, the praxis of subjects of sense and of truth.
In the wake of the same era and the same difficulty inherent in Marx
ism thought as final liberation, both Sartre and Bataille are after what has
become necessary-what has become necessity itself-ever since truth
showed itself to reside neither in the heavens nor in the morrow, namely,
to affirm truth here and now, to be capable of a truth afthe here and now,
of us, therefore, in our world. In Sartre's own words, it is a matter of think.
ing the fact that "truth is action, my free act. Truth is not true if it is not
lived and done."2
I should immediately add: by using Sartre's own words to illustrate

the point, I have already compromised, ruined, even, the proximity that I
wanted to indicate between Sartre's and Bataille's aims or concerns. Indeed,
this really does need to be said, since, in the final analysis, it's perhaps al
ways going to be words (vocabulary; style, and tone) that measure the most
clear-cut differences between thoughts concerned with the same objects in
the same era.
Still, it's no't as if I'm rushing headlong into this necessary indication.
Once again, we need to stop a moment under the cpciom of the proximity
or the sharing, however approximate it may be, of a single preoccupa
tion-a proximity without which, moreover, the confrontation wouldn't
have been quite so heated, and perhaps wouldn't have taken place at all.
. As such, I want to maintain this proximity between Sartre and
Bataille, a proximity whose limit, whose dissolution, even, I want to show
simply in order to penetrate further, as it were, into the concealed intimacy
that is also, once again, our own. Let us say, then, shifting terms somewhat,
that' both Sartre and Bataille (and they're not alone in this) are anxious
[dans l'angaisse], experiencing the cessation of a sense that is neither a lack
nor a loss but the point at which truth arises as this very cessation.
All we need to do, therefore, is consider the following question: Pre

cisely what truth is it that arises here? Sartre says: It is .an act, a lived expe
rience [un vtfcu] and a doing. "Lived experience" is a fairly murky category,
and one that appeals, moreover, to a somewhat dubious, sentimental
depth. But we don't need to dwell on this. Rather, we p.eed to address the
36 THINKING
f"!-ct that, so far as truth is concerned, Bataille doesn't disavow the term
"lived experience." (I'm not about to follow the texts, even though one
could; here, I'm not really interested in philology.) What he means by this,
though,. is the "lived experience" of a cessation of what goes under the
name "lived expedence"-we might be tempted to say: a "deadening of ex
perience" [un mouru] , if this didn't introduce a tonality that is undeniably
false and if, moreover, the "deadening of experience" weren't precisely the
concept of an insurmountable contradiction.
So let us say the same thing in a slightly different way. It is a matter
of "not-knowing" and so of nothing less than the entire modern experience
of thinking. Indeed, since Kant, a not-knowing lies at the very heart of
thinking. And already in Kant, as in Hegel and Heidegger and so also in
Sartre and Bataille, the site of not-knowing is called "freedom." Sartre en
visages not-knowing literally (and this, too, could be shown in the texts).
Yet he also says the following, a remark cited by Bataille in his response to
Sartre: "Bataille refuses to see that not-knowing is immanent to thinking.
A thinking that thinks that it does not know is still a thinking."3
Bataille doesn't challenge Sartre on this point. But the question here
is one of knowing (or of not-knowing . . . ) how to think a thinking that is
still a thinking even when its content is not-knowing.
Perhaps there's nothing more impoi:tant than thinking this "still
thinking," if it is true that we are, even more immediately than either
Sartre or Bataille realized, at an extremity where the movement of knowing
meticulously traces the contour of not-knowing. ..
Hence, when we say that the thinking of not-knowing is still a think
ing, we can also and before anything else understand by this a sustained
identity of thinking, of its subject (and this is what Sartre actually empha
sizes). In fact, though, we do so only at the· cost of seeing not-knowing it
self as an object, one that is identical to knowing: its negative identity, its
lack or its impossibility. Now this is precisely what needs to be called into
question: if not-knowing is the negative side of knowing, it marks a limit
or a powerlessness beyond whiCh the position of knowing still remains de
jure possible (future knowing or divine knowing, for example). If a final
knowing is possible, the totality of being will ultimately need to be gath
ered somewhere as the appropriated knowledge of some subject (albeit be
ing itself). Hence, somewhere, a truth subsists, at least virtually, and a 6-
nal ground for things is established.
Now, this is not what Bataille means when he speaks about non-
.
knowing. For him, "not-knowing" designates, on the contrary, knowing

that there is no knowing beyond our knowing, that "knowing" designates
merely the knowledge of an object (essentially, then, we are still swimming
in Kant's vast wake), and that the totality of being cannot be addressed by
a knowing. To know all this, that is, to not-know, understood this time in
its verbal rather than in its substantive sense, isn't to postpone final know
ing until a later date or to a higher register, but to enter into the obscurity
and the opacity of what is ho longer a matter of knowing in any way,
shape, or form. The thinking conceived thus is "still a thinking," then, but
in a sense hitherto unknown. It introduces a change in level and a rupture
in thinking itself: it is thinking concealing itself from itself (and "conceal"
is a word that continually appears in Bataille).
Concealed thinking is no more annihilated thinking (unconscious,
asleep, dead thinking) than it is maintained, self-identical thinking. It is
thinking that conceals itself from the anticipations and the demands of
knowing (in the modes of intuition or the concept, of representation or
calculation), while still remaining thinking: that is to say, an act that, be
fore anything else, is present to itself ("everything of which I am aware as
happening within myself," says Descartes-and hence sensation or feeling
as much as knowing or willing). The thinking of not-knowing is thus a
thinking that has nothing that it might think as an appropriable content,
merely self-presence without content. (In a sense, we could show how it is
Descartes's cogito that is being taken to its limit by Kant and Hegel.
Bataille knew this and showed as much. As I have said, though, I'm not
concerned here with the texts. Rather, it is the movement of a thinking
that demands our attention.)
The fact that thinking has no content doesn't mean that it is empty.
Or, if it does, the emptiness in question is a substantial emptiness: not a pit
or an abyss into which thinking slides, but the night, as Bataille likes to put
it, the night into which we advance and sink by seeing obscurity, itself the
privation of sight [vue] .
If thinking is generally represented as sight, what is involved here is
its representation as the sight of nothing rather than a nothingness of sight.
It is the sight of nothing, at any rate, of no object or content. Its sight is
nothing other than its penetration into the night. But what it sees as the
.'i,.
38 THINKING
night into which it penetrates is also itself: seeing nothing, and seeing that
it sees nothing, it sees tlie faculty or the power of seeing reduced to itself
Not, however, in the sense that it would be turned back on itself; the
night stands before it and presents it with sight that doesn't see anything
but merely sees. Neither self-presence in itself nor self-objectification, but
concealeq sight, sight �ubtracted but not suppressed, abducted, stolen, or
destroyed, diversified and presented as such. There's nothing to be seen,
and so neither sight itself nor a cont��dod ofthe subject in, the object, but
the power of seeing stretched to its limit, sdmulated by being concealed
; j
from sight. I (
.. !)
1
"To be concealed" is to take by sutprise, unexpectedly. Thinking
wOQ't have anticipated what is concealed, what conceals itself from think
ing but, in doing so, also conceals thinking from itself Knowing doesn't
andcipate not-knowing. Yet if knowing holds rigorously to what moves
it-to its ultimate ground, to truth and the sense or meaning of being-
•.
then it steps outside itself and into not-knowing.

What concealed thinking thinks-what it thinks, what it sees, and
what it touches upon surreptitiously, what not-knowing not-knows, in
other words-isn't something in the night mat might be divined from its
contours, its breath, its rustling. Rather, it is the night itself, the condition
and the element of invisibility. Night thus gives itself as the truth of a thing
that is no longer the object of a knowing but the thing restored to its ulti-
/
mate ground or to its sovereign sense.

This sense is the concealment of sense. That is to say, it makes sense
by concealing itself In concealing itself, and in concealing itself alone, it
carries the thing to the nocturnal incandescence of its absolute presence, of
its emergence and its ground or foundation: the thing itself, the thing that
is no longer taken tip in the return to an "other thing" (through difference
and proximity, through the relation of cause and effect, principle and end,
and so on). And it's thus that language makes sense: it relates all meanings
to one another, right up to the nonsignirying point of the flight of sense
from all these senses that refer back and forth between themselves. We
make sense, we give it and we even think it. But what is the sense of this
power of sense, a power that isn't simply "in" us or "outside" us, a power
that is perhaps in us only insofar as it is outside us?
The sense of sense is one of self-concealment. In the night, then, as
in anxiety and in the solitude and horror that accompany it, but equally in
the strange communication of laughter, it's not the chaotic din of an ab-
--_._ .. _-------_.._._-_. _--_ .. -. •... �.
surdity that is triumphant. Rather, it is sense itself or the truth of sense,

sense freed up in its naked power: sense sensing, therefore, a remark that is
far, far removed from anything like a play on words but, quite the contrary,
involves the very play of sense, that which opens it and puts it into play: its
body. It senses. It senses, not in the sense that it appropriates a signification
for itself, but in the sense that it senses itself concealing itself It touches on
its extremity as the eye touches on the night in which it is lost. Self-pos
session shows itself to be outside of itself
This sense, we could say, is mild. Bataille himself claims that "free
dom is mad."4 This madness, however, is not the absence of reason, any
more than it is some sort of "excess of reason." Rather, it is a reason that
doesn't give up, that doesn't give in, since it carries on trying to give rea
sons. It knows, then-that is, it un-knows and it senses, sensing noth
ing-that what gives reasons, what gives grounds, is 'the concealment of
reason.
But what does this concealment involve?
. To conceal, derober, to dis-guise, if you like, is also to disrobe. And
yet this is but one aspect of the term, since "robe" and "disrobe" have the
same origin (as English "rob" or German rauben suggest, the robe would,
in the first instance, be a garment seized by a thief ). We all know Bataille's
phrase "I think in the same way that a woman undresses," and there are
plenty of texts that deal with what is thus laid bare. A thinking that con
ceals itself, therefore, is also one that undresses itself, that disrobes, expos
ing itself, more specifically, as a naked woman: as truth.
.
To be naked is, first and foremost, to be undressed, to be without any
covering that could present or signify a state or a function. It is to reveal
everything but, at the same time, to show that there is nothing more to see.
It is to show that there's nothing, beyond nakedness except still more
nakedness. Hence, I cannot see nakedness except by placing it at a distance
from the object, by situating it in terms of the (medicai, anthropomor
phic . . . ) object. I see nakedness only by entering into it, or by letting it
enter into me.
What this means is that nakedness can only be opened or, rather,
that it is itself an opening. And this, in turn, means that nakedness touches
on the other. There is no solitary nakedness. If ! am naked and alone, I am
already an other to myself, an other with myself. By its very essence, a
nakedness touches on another nakedness: it wants to touch, no· longer to
see, to enter into th� night of nakedness. It touches it and opens it by
" �'\".' I.,

, - " '. . -
40 THINKING
opening itself to it. And yet, essentially obscure and devoid of all founda
tion, all it opens is its closure; it leads onto the night. But it still leads; it
still opens.
Nakedness discloses the fact that "truth takes place only in passing
from one to anothd'5 (and Bataille offers a little clarification of the point:
"it begins with conversations, shared laughter, friendship, eroticism").
Night or nakedness, insofar as they give nothing to be seen, give this: the
fact that sense only gives itself by passing from one to another. In this pas
sage, sense is concealed from the "one" as much as it is from "the other." As
such, it is devoid of any sense of appropriation. Likewise, and this is actu
ally the same thing, language is what it is only between us. There is no pri
vate language. And yet, between us, there is nothing, certainly nothing .
upon which we might confer a signification without the immediate threat
of suffocation (whether the signification is that of the mystical body, com
munal race, etc., or the mutual surveillance of all too clear-sighted looks,
the "hell of other people" as Sartre has it, and between the contrasting fig
ures of himself and Bataille lies the formidable modern worry over the "be
tween-us" that conceals itself).
In short, what we need to do is to give some sense to this between

us; this, however, can only be the sense of the passage from one to the
other. Hence, the sense of passage is the sense in which signification is con
fused with directional sense, and directional sense heads in all directions at
once. The between-us is, very precisely, the place of the sense of sense, pas
sage in every sense of the term: transmission and transgression, the step
from one to the other as well as the step from the other beyond the one.
This is why, moreover, the between-us, whenever it takes place, is always
the between of nakednesses. This doesn't mean that only nakedness allows
us to be between us; rather, it means that when we are between us-when
this happens-we are naked.
Denuded, we are immediately concealed, since there is nothing that
could render us visible, knowable, identifiable. Here, we are more likely to
be identified with the movement that conceals us, a movement that is as
worthy of the name "love" as it is of "death," "tears," or "laughter," "lan
guage," and "thinking." When, as the saying goes, I am "truly" thinking,
all I can actually do is reach out .into the night, toward an other that I do
not see, offering the nakedness of a thinking that knows that it is con
cealed: unaccomplishing, unable to stop, unable to communicate anything
but still communicating this: the fact that thinking no longer responds to
anything, despite" its being the very movement of responding (of giving ac
counts, of giving grounds or reasons). When I read Bataille or Hegel, Des
cartes or Rimbaud, I'm always reading the fact that they're not responding
to me in any way whatsoever, that each one of them provides me with a
sense, a ground, or a reason for no more than an unstable and tenable in..:
stant (so long as I don't look to fix it in an imaginary response, in a doctri
nal lesson, in a belief). Essentially, each of them hands over to me [me passe
le relais] or, as we say, passes me the baton [le temoin] of sense. And it is
here, in this passage alone, that there is such a thing as sense.
Equally, though, the passage is a concealment, since it maintains its
sense only in this incessant passing into the other-in me outside of me to
the other. But this is the truth of sense. To seize is to seize a chance. Chance
is a nakedness,6 "it waits for us to undress it."7 This has the sense of seizure
and surprise, but it also has the sense of an anxious, feverish anticipation
that has to know that it cannot simultaneously wait and desire, since seizing
has to come as a surprise if it is to surprise chance. This agitation, this anx
iety, is the agitation and anxiety of thinking in the night that conceals it.
What is at stake here, however, is nothing more than this: chance sig
nifies that the passage doesn't obey an external necessity. It is the effect nei
ther of a transcendental law nor of the willing of a principle or an end nor
of the totalization, however tendentious it may be, of a history. Rather, it is
the absence of such a necessity that turns away from knowing. Not-know
ing is the not-knowing of the freedom of sense-that is to say, of the ne-'
cessity of chance.
Concealed thinking thinks the fact that there is no reason for us to be

here, the fact that there is no reason why the world is here, the fact that
there is no reason why we are in the world-indeed, this is what "being in
the world" means. To think this nothing is to think naked thinking: a
thinking that appeals to its passage to the other alorie, without intention,
beyond all intention, for nothing, nothing except our being between us,
nothing except our being in the w�)fld-and this "except" is itself devoid
of intention, of project, of end. Both Sartre and Bataille experienced the
42 THINKING
necessity of undoing the hegemonic ties of finality without ever withdraw

ing thinking from the urgency of communication or community, without
ever withdrawing it from a difficult and perilous generosity. (This is what
each of them, in quite different ways, failed to find in Heidegger or Freud,
hoping to find it instead in an overhauled version of Marxism.) Finality
concerns a supposed knowing; generosity exposes to not-knowing.
Hence, concealed thinking only thinks what conceals it from itself.

As such, it is "still thinking." Like all thinking (apperception), it grasps it
self, but not in the intentional act constitutive of an object or a project; in
deed, it grasps itself in the relinquishment of any object or project, of any
intention and so, too, of any consciousness. It grasps itself as something
that is relinquished; it grasps what is left for thinking when there's nothing
left to think. It sees itself naked, exposed, deprived nbt only of its objects
and their operations, but of any form of self-certainty, the certainty of its
own disappearance, a cogito whose cogitatio this disappearance is, a silent
implosion as well as a pit of anguish or a jerk of laughter. A cogito ex-cogi
tated, thought outside itself.
The division of a thinking outside thinking is a constant and consti
tutive movement in the modern experience of thinking. It begins with
Kant, for whom the entire operation consists precisely in detaching think
ing from knowing. Thinking beyond knowing, intellectual intuition be
yond sensible intuition, reason beyond understanding, faith beyond rea
'son, the transformation of the world beyond its interpretation, art beyond
science, thinking beyond philosophy, "originary thinking" beyond think
ing itself . . ,8 madness, silence, not-knowing, these are a few of the links
.
in a peculiar and powerful chain: the modern history (although perhaps

not quite so modern, extending as it does right back to the noesis noe
seos . . . ) of a necessary overcoming of the thinking of knowledge and
recognition, the history of an overcoming and subversion of philosophy
and theoretical postulation-an overcoming and a subversion that arise
from within philosophy itsel£
On this account, though, Sartre, who insists that non-knowing is still
a thinking, actually confirms a continuity in this overcoming and subver
sion. He still holds to the irrefutable and necessary right of "accounting
for." Bataille, however, represents neither a renunciation nor a prophecy,
---____________ c, _�_ ,
but the same insistence followed right to the end: to the point of account
ing for an extremity that can no longer be accounted for. Yes, it is still a
thinking; but it is one that confronts the excess of this "still."
The point of such an excess-the point of the leap, of the throw, of
shock, surprise, the point of thinking's passage to still thinking, the cross
ing over from the "still" in the sense of "in the same way' to a "still" in the
sense of a "moreover," to the still other or the still further-is the point of
concealment, the extremity at which we can think along the lines of con
cealment, thinking having already passed into the other, having already '
been absorbed by this other sense that gives it the other, but that also works
to finish off-or to begin completely anew�every conceivable sense of
the other, in excess of sense, the "flip side of all thinking. "9
In the intimacy of this excess, thinking turns back on itself; which
also means that it exposes itself to its absolure outside: the twisting and
tearing that define thinking itself, the double still of thinking. This think
ing loses itself and still thinks this loss, yet it still loses this thinking in such
a way that it no longer exists either as a thinking of loss (a philosophy of
non-sense, of grinding doubt, of nostalgia or cruel irony) or as a 1l?ss of
thinking (delirium, orgiastic delight, the paralysis of consciousness). It
doesn't exist at all, either positively or negatively, and yet it insists in the
night as an "illumination:"lo All this, though, is only the night's illumina
tion of itsel£
Of course, the motif of nocturnal illumination brings us dangerously

close to a sort of mysticism; this needs to be pointed out, since it is the c,en
tral term in the dispute between Sartre and Bataille, the term that will be
central to Sartre's contempt for" Bataille's way of thinking. (Once again, I
don't want to go back over the texts. What strikes me as rather more im
portant is to address the question of whether or not Sartre's vehemence at
the time indicates a troubling proximity that might warrant consideration.
Moreover, Sartre the man, if not Sartre the theoretician, is clearly more
arOOous, less confident-even less tragic-than Bataille the man and the '
thinker.)
The night's "illumination" doesn't produce a vision; in a sense, noth
ing happens. And yet the illumination stressed by mystics is played out
around an excess of vision [une sur-vision], an exquisite excess of sensibil-
44 THINKING
ity, one that is unsustainable, yes, but also ecstatic, and that is also to say:
transported, carried away, uplifted.Bataille always ends up understanding
. the mystical as a way of getting a result, getting there by virtue (and/or by
the calculation) of a -tnethod, a desired approach.Yet thinking can only be
. concealed insofar as it doesn't wish for what doesn't await it, insofar as it
doesn't calculate its arrival time, even simply in ord�r to abandon it.
This happens by not happening [cette venue vient comme ne venant
pas] . It is "what doesn't happen,"ll identical in this regard to being, simply
and as a whole.It runs alongside being and the event of being, but resem
bles it only by way of a concealed resemblance.It is, moreover, the con
cealment of all resemblance and thus of all identification.The arrival can
in no way offer its own concealment as the event of being, which, in fact,
lies outside or on the other side of the point at which it conceals itself
There's no vision here, then-merely the disappearance of vision.It's not a
matter of seeing, therefore, but of looking, of the eye opening onto the im
penetrable night. Here, there is only the imperceptible exhaustion of
thinking, sliding outside itself, a slippage, therefore, the minute and deci
sive slippage between what is still a matter of vision and what is still a look,
still blind.If we're going to think what is brought into play here, we're go
ing to have to elaborate the intimate difference, minute but also absolute,
between vision and look.
No doubt we will have to be attentive to this slippage if we are going
to give it its chance.Yet the only thinking that is able to think it is one that
has made the initial resolve to surrender to it but that has in no way re
nounced the demand of thinking, of thinking rigorously.And yet the sys
tem of this rigor does not construct itself in terms of means and end, in
struments and productions, principles and consequences. It can't, since
here means and ends, method and knowing, are confused: the not-know
ing in which thinking slides outside itself-in itself outside itself-is iden
tical to the exact coincidence of thinking and its flip side.Put differently:
of thinking and the thing that is being thought.Put differently again: not
knowing is identical to truth.
As has already been said, this truth lies in the other.It takes place as
communication to the other from out of an opening of sense that doesn't
refer back to me and of which I see simply the nocturnal void.I enter into
death or I enter into the other, it's all the same.I enter at the point at which
I cannot enter as the subject of my intention and its objects (neither theo
retical intentionality nor practical will), and so I look without seeing [jen-
tre en regardant sans voir] . The "subject," if there is one, is a subject of this
look, not of a representation, concept, signification, or figuration . . .
If the end is thus beyond both objeci and subject, beyond circum
scribed and signified sense, this doesn't mean that it lies in a supra-signify
ing beyond to which I would end up being initiated (mysticism always in-.
volves initiation). It's a matter here not of signification but of what, right
up against signification, slips alongside it, next to it, prying itself from it
through a minute difference: its communi<;:ation. (And for Sartre, as for
Bataille, truth is its communication to the other.12) Communication isn't
the movement of significations; rather, it brings such significatioris into
contact with the openings of sense. Without this contact, signification
wouldn't signify. Yet whatever happens to the significations being ex
changed (whether they are transformed, lost, misunderstood, well trans
lated), with this contact it is the very possibility of sense that is illumi
nated-and its fire is a nocturnal one. Sense in the other is for me both the
truth and the night of sense. Birth and death, love and hate, signal noth
ing other than this.
I cannot speak-and that also means that I cannot think-without
this "sense in the other" .already resonating "in me," without its night al
ready standing against my eyes. "To pass from one to the othe�" isn't just
one more operation for thinking; ii: is thinking itselJinsofar as it conceals
itself in the truth of sense.
Such are the stakes of the cracked nudity that haunts Bataille's
work-not in the manner of an aroused voyeurism but in the sense of the
night of a 'clear eroticism. Beneath the removed or raised garment, and so
no longer beneath, strictly speaking, but exposed, nudity is what conceals
and what conceals itself: leading into the space that the intimacy of the
other is, not only for me but for itself as well. Leading, then, not into a
mystical union in which a knowledge of one in and through the other
might be reconstituted, but into the renewed concealment of not-knowing
that, rather than uniting us, divides us: an infinite agitation of sense. Con
cealed thinking is identical to communication, and this identity is itself the
night of not-knowing.
If concealed thinking is neither mystical nor philosophical, therefore,

if it is accomplished neither as ecstasy nor as knowing, if it is essentially
46 THINKING
concealed-thereby, and thereby alone, being the thinking that it is-and

if this is the thinking that our thinking ought to be, if this, truly, is the
thinking that our thinking already is and has been since the period de
noted by the names "Sartre" and "Bataille," then how is this thinking to
. .
be addressed?
How, indeed, can we address that which, so far as we are concerned,
can be neither religion nor science nor philosophy and that we need more
than ever now that we have done with religion, science, and philosophy,
now that we have passed beyond this configuration, now that we know all
this-without ever knowing what it is that we are becoming, if not a hu
manity whose sense is naked and exposed?
Both Sartre'and Bataille laid bare and exposed the sense of this sense.
Furthermore, their confrontation gives it its sense: this incomplete (and
doubtless incompleteable) confrontation between someone who is still at
tempting to discern a history (a thinking) and someone who is already
looking into tlie night (into the other side of thinking), each one of whom
knows in some obscure way-knowing through a concealed knowing
that they are thinking the same thing. Here, though, "the same thing"
doesn't indicate an identical object; rather, it indicates the "sameness" that
is so problematic for our identity, for us, for we members of a humanity
laid bare and exposed, we members of a concealed humanity . . .
In short, it would be a matter of thinking how we can grasp-with
out ever capturing or reducing to something that has been caught-the '
chance of being in the world and the chance, too, of our exchanging signs
there, this chance that is almost impalpable and, more often than not,
painful to the touch. The signs that we exchange are unending; they do not
refer to a shared signification-whether that of science, religion, or philos
ophy. And yet this concealment is our being in common. In the same way,
Sartre and Bataille, by failing to understand one another, understand one
another rather well, perhaps too well to avoid colliding with one another,
and represent accordingly a type of shared exhaustion of the assurances of
signification. In a way, we have all been and still are "Sartre and Bataille,"
so long as concealed thinking hasn't yet become our way of thinking.
Sartre speaks of a "perpetually active understanding [that] · is none
other than existence itself," describing this understanding, in order to dis
tinguish it from "knowing," as "the dimension of rational not-knowing at
the heart of knowing. "13 We will always be able to ask whether, in thi;; text
from 1960, Sartre doesn't actually risk a belated and furtive homage to
Bataille (who would die two years later), perhaps even more than homage,
a sign of community. However this may be, what is important here isn't his
intention per se, nor is it, as elsewhere, his attempt to correct "non-know
ing" with something more "rational" (a correction cir modulation that
Bataille doesn't simply repudiate). No, what is important here is that,
obliquely and from a distance, as it were, Sartre approaches the necessity of
thinking concealed thinking: the sense of this naked absence of sense that
we ultimately know and share as our very nudity, humbly get gladly, in the
everyday or in what is truly exceptional.
From this point on, it falls to us to approach from a new perspective
that which is neither science nor religion nor philosophy-that which, far
from providing a sense that might be exchanged, is itself the sense of the
exchange (the exchange itself as sense, even) of our existence in common.
"In a sense" this is what we call praxis, that is, action that transforms its
agent rather than its object or its matter. Far from being the mastery of a'
means with a view to an end, praxis is the endless transformation of the
subject of sense in itself: a sense that is nothing other than its communica
tion-and, by the same token, its concealment. The concealment of think
ing is its praxis: thinking that undoes its objects in order to become the
thinking that it is: we, with one another and with the world.
Tramlated by James Gilbert-Walsh
: . ...�.,.
EXISTING
3
The Unsacrificeable
Pamphile says that, having leatnt geometry from the Egyptians,Thales was
the first to inscribe a right-angled triangle, whereupon he sacrificed an ox.
-Diogenes Laertius1
It is, no doubt, reasonable enough to attribute the practice of sacri

fice to Lascaux Man at the very latest. Thus we need to address about two
hundred centuries of sacrifice, then the millions of sacrificial rites already
carried out in our own century, at the edge of the West or in some of its
most secret recesses.
Any such account would need to conjure up the spectacle ofinnu
merable altars or consecrated places, the fumes rising from them, the blood
flowing over them, the. wine or waters spilt upon them, the fruits, breads,
offerings of every conceivable sort laid upon them. Equally, this spectacle
would need to allow us to gauge the peculiar absence of sacrifice in us, for
us. Either its absence or its ambiguous and indistinct presence. Wherever
there are still altars, priests tell us that it's no longer a matter of the same
sort of sacrifice. I will come back to this, since it goes to the very heart of
the matter. More often than not, however, there are neither altars nor
priests. As a result, all those things for which sacrifice is prescribed-par
ticipation, communion, community-or, rather, those things for which we
imagine it was prescribed, are no longer preserved, at least not in the same
way. Every time nihilism declares that "there is no more community," it
also announces that there is no more sacrifice. Is it possible to take up this
expression in a way that wouldn't be nihilistic? That is the question that I
want to address in this essay.
52 EXISTING
All of humanity, or near enough to make no difference, has practiced

something that we might call "sacrifice:" But the West rests on" another
foundation, one in which sacrifice is exceeded, surmounted, sublimated, or
sublated in a singular way. (Is this the same as saying that it is itself sacri
ficed? I will come back to that.) We would need to evoke another repre
sentation here: the image of the past ten centuries, during which sacrifice,
" first at the edge then at the heart of Western foundations, is shaken loose,
sublated, transfigured, or withdrawn. This happens with the prophets of Is
rael, with Zoroaster, Confucius, the Buddha, and, finally, with philosophy
and in Christianity. Unless we ought to say that it completes itself as phi
losophy and as Christianity or, if you prefer, as onto-theology. Nothing,
perhaps, marks out the West more distinctly (albeit obscurely) than this di
alectical assumption or subsumption of sacrifice. Bearing in mind the lim
its of history proper, it should be said that the Indo-European period im
mediately presents sacrifice in a weakened, displaced, if not diluted form.
Everything happens as if the West began where sacrifice ends. It is certainly
not enough, as Bataille, for example, pointed out on numerous occasions,
to say that an evolution is taking place, driven by a growing horror of im
molation and the search for "less harrowing religious attitu4es."2 Instead of
grasping the reasons for this (apparent) "humani�ation" of sacrifice (which
is easily confused with the very origin of the West), we need to grasp what
is at stake deep within it.
This is what my epigraph is meant to indicate. The little story about
" Thales takes us back to the time of a strange amalgam, when science was
celebrated by sacrifice, a time when, as we know, or as we think we know,
the origin of geometry stood precisely within the dissolution of this amal
gam. (In analogous fashion, Hegel, with a mixture of interested curiosity
and disapproval, tells us that Xenophon, at the head of his army, allowed
his military choices to be dictated by the daily sacrifice.)3 Today, other sci
ences take sacrifice as their object; finally, however, all they tell us is that
this object is ill constructed and artificial, "a category of bygone thinking."
They might even go so far as to say: "In our system, sacrifice exists at most
as little more than an empty vessel, nothing but a strategic position in
which distrust or fascination, the refusal of the other, is set in place."4 We
can no longer understand Thales' gesture; we do not even know whether,
or how, he himself understood it-and yet it seems that we are still in
creasingly attracted, if not fascinated to the point of hallucination, by this
very gesture.
·
" :.. . '� �":.: - ' "
The Unsacrificeable . 53
(All the same, something else needs to be added here: confronted

with non-Western practices of sacrifice, the inappropriate character of our
idea of sacrifice is doubtless not entirely distinct from many other sorts of
impropriety, indeed, from impropriety in general. In a sense, we don't re
ally know what "eating," "kissing," or "commanding" mean outside of the
West, and so we don't really know anything that we haven't already told
ourselves. Now in the case of sacrifice (as in other things), it so happens
that the very wordwe use is of our own making. This Christian/Latin word
says something that no other word can say. It does not translate: rather, it
inaugurates a meaning. In the final analysis, "sacrifice" -in all possible
senses of the word-is a Western development. We can doubtless brush
this argument aside by saying that ultimately the same goes for everything.
In the case of the word "sacrifice," however (although perhaps this isn't
unique to it), what's notable is that the new word simultaneously claims to
recover the meanings of other, earlier words and to establish a new mean
ing that might abolish or sublimate those earlier terms. There would be an
obscure sacrifice of words within the word "sacrifice." Undoubtedly, the en
tire lexicon of the "sacred" takes part in this sacrifice. But I can't dwell on
this question here.)
II
Bataille's thinking cannot but haunt contemporary reflection on sac

rifice. I will discuss this thinking later. For the moment, I want to draw out
three distinctive traits that give his thinking its exemplary character. ·
�. This thinking doesn't come about purely by chance or through the
whim of an individual but is firmly tied, on the one hand, to an entire so
ciological, ethnological, and anthropological context, and, on the other, to
a philosophical, theological, and psychoanalytic one. One way of confirm
ing this would be to refer, for example, to Georges Gusdorf's book L'Ex
perience humaine du sacrifice, published in 1948 after having been "written
in captivity."5 His perspective is entirely different from that of Bataille,
whom he nevertheless cites (and whom he knew personally). Yet beyond
the symptomatic case of these two authors, the network of references, the
importance conferred upon the object, and the tendency toward the idea
of a necessary "surpassing" of sacrifice all testifY to the contemporaneous
concerns of a much wider community. There is something like a critical, or
54 EXISTING
crucial point of contemporary thought in the question of sacrifice. We will

perhaps find out later what causes it, and in what way it concerns us.
2. Bataille's thinking, as we know, displays more than a particular in
terest in sacrifice: it is obsessed and fascinated by it. For Bataille, "the lure
of sacrifice" is a response to the fact that "from childhood onward, we
await this derangement of the order that stifles us . . . the negation of this
limit of death, which fascinates like light."6 With sacrifice, it's' a matter of
nothing less than "being the same as the magnificence of the Universe."7
Thus Bataille could write: "The question of sacrifice should be called the
last question."8 We also know that Bataille didn't just want to think sacrifice;
he wanted to think according to sacrifice. and he actually wanted sacrifice
itself At the very least, he never stopped presenting his own thought as a
necessary sacrifice of thought. With the same movement, the motif of sac
rifice in Bataille involves the sacrificial gesture itself, the establishment of
community or communication, art in its ability to communicate and, fi
nally, thought itself '
3. Yet we also know that a steady displacement, a lengthy diversion,
led Bataille to denounce the comedy of sacrifice and, eventually, to aban
don the idea of making it his goal. But this abandonment, doubtless al
ways fragile and ambiguous, never ends.
The questions that I want to ask here, without restricting myself
solely to Bataille, originate in his experience of thinking and what it exem
plifies for us.
What is it about the fascination with sacrifice? Where does it come
from? To what does it commit us? To what is it committed? What is it that
actually constitutes our relation to sacrifice? Is not the whole of the West,
in a sense, determined there? And, as a result, doesn't this relation tie us to
the closure of the West? Isn't it about time that we acknowledged the end
of real sacrifice and the closure of its fantasy? Isn't ' it time that we con
cerned ourselves with a participation and a communication that would no
longer owe anything to sacrifice? One that would no longer be a product (I
am thinking here of Rent! Girard, and an entire contemporary Christian
movement) of the revelation of a nonsacrificial religion, which can only
ever trap us in the revolving door of this very revelation?
III
What is the nature of the West's initial relation to sacrifice? More

precisely, upon what kind of relation to the sacrifices of the rest of human-
The Unsacrificeable 55
ity (or the representations of these sacrifices) does the West map �ut, so to
speak, its own "sacrifice" (perhaps, if it needs repeating, the only one that
genuinely answers to the name "sacrifice")?
Socrates and Christ show it to be a decisive and founding relation. In
both cases, it is a matter ofa simultaneously distanced and repetitive rela
tion. Both figures (the double figure of onto-theology) quite deliberately
and decisively distance themselves from sacrifice and point toward its
metamorphosis or transgression. Above all, therefore, it is a matter of a
mimesis: early sacrifice is, up to a certain point, reproduced in its form or
schema, but reproduced in such a way as to uncover within it a completely
new content, a truth previously buried or unrecognized, if not perverted.
In the same way, early sacrifice is represented as having constituted only a
previous imitation, a crude image of what transfiguredsacrifice will hence
forth bring about. Basically, though, there is perhaps precisely nothing that
we can say about "early sacrifice" except that all representations of it are
constructed on the basis of transfigured sacrifice. Yet this new sacrifice
doesn't derive from its brutish prototypes by way of a simple transmission
or natural generation: the gesture of a "mimetic rupture" is necessary to in
augurate it.
(Let me ask in passing, without wanting to hold up our inquiry,

whether there is, · in a general sense, any "rupture" that would not be
"mimetic." Isn't this principle applicable to the dominantinterpretations of
what we call, amongst other names, " the killing of the father" or "revolu
tion" ? To what extent might these interpretations be dependent upon the
gesture made in relation to sacrifice? That is, upon a gesture in which sac
rifice has to be sacrificed-immolated, abandoned-so that we might fi
nally dedicate (or sacrifice) ou·rselves to the revealed truth of sacrifice? A
sacrifice to sacrifice through the sacrifice of sacrifice, therefore. Of course,
in any such formulation the value of the word is continually and dialecti
cally displaced. Finally, though, this displacement perhaps accounts for the
dissolution of every value associated with -the word and so; if the term still
means anything, of the thing itself I shall come back to this.)
The mimetic rupture of Western sacrifice (or, if you prefer, to West

ern sacrifice . . . ) suggests a new sacrifice, one distinguished by a number
of characteristics. This doesn't simp�y mean that all trace of these charac
teristics is absent from early sacrifices-as far as it is possible to track down
the truth of these "early" sacrifices (this is the whole problem, of course).
56 EXISTING
Four characteristics, though, are clearly required and presented by the

onto-theology of sacrifice:
1. It is a self-sacrifice. Both' Socrates and Christ are condemned by an
iniquitous condemnation that neither the victims nor the executioners por
tray as a sacrifice. Yet the final outcome of this condemnation is still repre
sented as a sacrifice sought, intended, and demanded by the victims' entire
being, by their life and thought and message. It is the sacrifice ofthe sub
Ject, in the fullest sense of the word and fullest duality of the genitive.
The Phaedo suggests nothing other than the reappropriation of the
situation by the subject Socrates: he is in prison, he is going to die there; all
earthly life is designated as a prison, one from which he plans to free hiIll-
self through death. Philosophy appears thus not simply as knowledge of this
liberation, but as its genuine operation: "Those who have purified them
selves sufficiently by philosophy live thereafter altogether without bodies,"
and so forth.9 A few moments after having uttered these words, Socrates
will drain the hemlock without hesitation, asking of the gods "that my re
moval from this world to the next may be prosperous."1O
In the case of Christ, the Pauline doctrine of kenosis is familiar
enough: the gesture by which Christ, "being in the form of God . . .
humbled himself,"1 I becoming man even unto death. God, lord and mas
ter over the death of all creatures, inflicts this death upon himself, re
turning to himself and his glory the life and love that he has lavished
upon creation.
In both cases, the event of sacrifice proper (if we can still speak in
such terms), the actual putting to death, merely punctuates and lays open
the process and the truth of a life that is itself sacrificial through and
through. With the West, it is no longer a matter of life sustained by sacri
fices nor even, in keeping with a very Christian expression, a matter of a
"life of sacrifice." Rather. it is a matter of a life that, in and for itself, is
nothing other than sacrifice. Augustine writes: "When the Apostle exhorts
us to make our bodies a living, holy host, suitable for God . . . we ourselves
are this entire sacrifice of which he speaks." 12 The life of the subject-what
Hegel calls the life of Spirit-is the life that lives by sacrificing itselE In a
different vein, Nietzsche, too-who elsewhere distrusts the morality ofsac
rifice-testifies to this sort of life:
. .
"To give one's life for something"-great effect. But people give 'their lives for
many things: emotions need to be satisfied, individually and all together. . . . How
many ha,,-e sacrificed their lives-or even worse, their health!-for a pretty
woman! When one has the temperament, one instinctively chooses what is dan
gerous: the adventure of speculation, for example, if one is a philosopher; or one
of immorality, if one is virtuous . . . we are always sacrificing. 13
.
2. This sacrifice is unique, and it is consummated for all. More pre

cisely still, within it all are gathered, offered, and consecrated. Let me cite
Paul again: '�d every priest standeth daily, oftentimes ministering and of
fering the same sacrifices, which can never take away sins. But this man, af
ter he had offered one sacrifice for sins . . . , by one offering he hath per
fected forever them that are sanctified."14 Or Augustine: "The whole city of
the redeemed, the entire assembly of saints, is , offered to God by the
supreme pontiff in one universal sacrifice. In the form of a servant, he of
fers up himself for us through his passion, so that we became 'the body of
such a noble leader."15
The uniqueness of sacrifice is thus transferred-or dialecticized
from a position of exemplary uniqueness, whose value lies in its exem
plarity (this is, above all, Socrates' sacrifice, and we might also ask, Isn't
sacrifice, in a general sense, the example of examples?), to the uniqueness
of the life and of the substance in which-or to which-every singularity
is sacrificed. At the end of this process, of course, we find Hegel: "The
substance ofthe State is the power by which the particular independence
of individuals and their absorption in the external existence of possession
and in natural life are experienced as nothing; the power which promotes
the preservation of universal substance by the sacrifice-'-:'at work within
the inner disposition that this power implies-of his natural and partic
ular existence."16
In a way, Socrates' disciple furnishes the moment of exteriority in

this dialectic: Plato's Laws establishes the prohibition of private sanctuaries
and sacrifices increasingly performed, anywhere and at any time, by
"women in general" and arJxious people.17 As Plato makes clear, moreover,
if the impious do offer such private sacrifices, the whole city will suffer as a
result. So there is a communication, or contagion, of sacrificial effects, and
it is the role of state sacrifice to ensure the smooth running of the city.
Long after Plato, and long after Hegel himself (not·that I would want to
suggest any straightforward affiliation), Jiinger describes thus the experi
ence of "total" war: " The vast sum ofconsented sacrificesforms an entire holo
caust that unites us all"-a phrase cited by Bataille as a salute to "mysti
cism."18 Western sacrifice upholds the secret of a participation or
communication devoid of limit.
58 EXISTING
3. This sacrifice is inseparable from the fact that it is the revealed

truth of every sacrifice, or of sacrifice in general. It is not simply unique,
therefore, but, by virtue of its uniqueness, elevated to the principle or the
essence of sacrifice.
Remarkably enough, the Phaedo is framed by two references to what
I have called "early" sacrifice. At the start of the dialogue we learn that, af
ter the judgment, Socrates' death had to be deferred because executions
were forbidden during the annual voyage to Delos that celebrated The
seus's victory over the Minotaur, that is, until the end of the sacrifice to
which the Athenians were honor bound. At the end of the dialogue, on the
other hand, Socrates, already half-paralyzed by the poison, utters his firial,
dying words: "Crito, we ought to offer a cock to Asclepi�s. See to it, and
dodt forget." 19 Any interpretation here-and this is precisely what the text
intends-is doomed to a pointed ambiguity: either Socrates, who recovers
the health of the soul by sacrificing his body, is giving thanks to the god of
healing, or he is bequeathing, with a degree of remoteness and perhaps
with some irony, a sacrifice that is empty when compared to · the one that
the philosophical purification is at that very moment performing within
him. Either way, the truth of sacrifice is brought to light in terms of its
mimesis: early sacrifice is an external and, by itself, futile figure of this
truth in which the subject sacrifices itself, in spirit, to spirit. Through
spirit, it is to truth itselfthat true sacrifice is offered up, in truth and as
truth that it is accomplished. In the central section of the dialogue, dedi
cated to the truth of the immortality of the soul, Socrates warns: ''As for
you, if you will take my advice, you will think very little . of Socrates, and
much more of the truth."20
After Paul, Augustine, and the entire tradition, Pascal writes: "Cir
cumcision of the heart, true fast,· true sacrifice, true temple: the prophets
showed that all this must be spiritual. Not the flesh that perishes, but the
flesh that does not perish."21
4. Hence the truth of sacrifice sublates, along with "the flesh that per
ishes," the sacrificial moment of sacrifice itself And this is precisely why
Western sacrifice is basically an overcoming of sacrifice, its dialectical and
infinite overcoming. Western sacrifice is already infinite in that it is self
sacrifice, universal sacrifice, and reveals the spiritual truth of all sacrifice.
Equally, though, it is�indeed, has to be-infinite becau�e it absorbs the
finite moment of sacrifice itself and because, logically, it has to sacrifice it
self as sacrifice in order to attain its truth.
The Unsacri/iceable 59
This is how we need to understand the shift from the Catholic Eu
charist, consummated in the finite character of sensible beings, to the in
ner cult of reformed spirit. And how we need to understand its speculative ·
truth:
The negation of the finite can only take place in a finite way; with this we come to
what is generally called sacrifice. The immediate context of sacrifice is the surren
der of an immediate finitude, in the sense of my testifying that this finitude ought
not to be my own and that I do not want to keep it as such. Here, negativity can
not manifest itself through an inner process, because feeling does not yet have the
necessary depth. . . . Rather, the subject . . . is only to surrender an immediate
possession and natural existence. In this sense, sacrifice is no longer found in a
spiritual religion, and what is there called sacrifice can only be so in a figurative
sense,zz
Mimesis, then: spiritual sacrifice will be sacrifice only in a figurative

sense. In truth, it is "the reconciliation of the absolute essence with itself"23
Mimesis, .but repetition: sacrifice is overcome in the name ofa higher, truer
mode ofsacrificial logic alone. Indeed, the reconciliation of essence demands
nothing less than its passage through absolute negativity and through
death. It is through this negativity-and even as this negativity..,.-that
essence can communicate with. itself "Sacrifice" means: the appropriation
of the Self in its own negativity; and if this sacrificial gesture has been
abandoned to the finite world, it is simply in order to draw out all the more
clearly the infinite sacrificial structure of this appropriation of the Subject.
With this, the external mimesis of early sacrifice becomes the inner and .true
mimesis of genuine sacrifice. Bataille writes, for example: "In a certain
sense, sacrifice is a free activity. A kind of mimeticism. Man takes up the
rhythm of the Universe."24
We might call this mimesis "transappropriation" -an appropriation,
through the transgression of the finite, of the infinite truth of this very
finitude. In a sense, there is no longer any sacrifice: instead, there is
process. In another sense, this process only matters because of the mo
ment of the negative, in whi�h the finite has to be negated, and this mo
ment remains, in spite of everything, a transgression of the law, the law of
self-presence. This transgression occurs in pain, in horror, even. For
Hegel, for example, it is the somber, bloody, yet ineluctable face of his-
.,
'-,7·:
60 EXISTING
tory. Yet this is how Spirit completes its infinite self-presence and the law
becomes restored and glorified.
Nietzsche, too, sometimes sees history in terms of the necessity of
sacrificing entire generations so as "to strengthen and raise higher the gen
eral feeling of human power through this sacrifice-in which we and our
neighbor are included."25 Such a sacrifice is opposed to one performed by
"the good" who, says Zarathustra, "crucify the one who writes new values
on new law-tables, and sacrifice the future to themselves."26 And yet it op
poses it only by remaining sacrifice, just as Dionysus opposes the Cruci
fied; it is the power of dismemberment against the dismemberment of
power. All this presupposes the Maenads, the orgiastic, a point of infinite
dismemberment and pain.
Such is the consequence of mimetic ruprure: sacrifice is the sublation
of its finite functions and its exteriority, yet a fascinated gaze is still fixed on
the cruel moment of sacrifice as such. We have already seen that the very
Hegel who abandons religious sacrifice also reclaims for the state the full
vruue of warlike sacrifice. (And what does Marx say of the proletariat?
Those who "possess a character of universality because of that universality .
of their sufferings. ")27 Although sublating sacrifice, the West constitutes a
fascination with and for the cruel moment of its economy. And does so,
perhaps, in parallel'with the extension and exhibition of suffering in the
world of modern war and modern technology-at least up to a certain
point, to which we will return. The "flesh that does not perish" remains the
torn flesh of a beautiful body, and the secret of this horror continues to cast
an obscure light over the central point of sublation, over the heart of the
dialectic: in truth, in spite of Hegel, it is this secret that makes this heart
beat; or, more seriously, it is the dialectical gesture itself that inaugurates
this secret. Western spiritualization/dialecticization invented the secret of
an infinite efficacy of transgression and its cruelty. After Hegel and Nietz
sche there is an eye fixed upon this secret, with the feeling of a clear, nec
essary, and unbearable consciousness-the eye of Bataille, for instance.
But what does this eye actually s�e? It sees its own sacrifice. It sees
that it can only see because of an unbearable, intolerable vision-that of
sacrificial cruelty-or it sees that it sees nothing.
Indeed, if it is always going to be a question of the ancient sacrifice
that lies at the heart of modern sacrifice, we need to acknowledge that the
mimetic rupture has made us lose sight of the ancient truth of this sacri
fice. Or, as I have already suggested, the rupture is set up by the represen-
tation of the "loss" of a "sacrificial truth"-and by the fascination for the

"truth" of the moment of cruelty, the only so-called truth preserved from
those ancient rites. As is the case at other decisive points in our Western
discourse, the representation of a loss of truth-here, the truth ofsacrifi
cial rites-leads directly to the representation of a truth of loss: here, the
truth of the victim, the sacrifice itself.
Nonetheless, this truth of loss, of sacrificial destruction, isn't always
presented so clearly. It can be difficult to resolve the diversity of ancient
rites into a unity. Just as specialists today tell us that "sacrifice" is an artifi
cial notion, so it's not certain whether the spiritualizing consciousness of
sacrifice has always been entirely clear about its own resumption of thor
oughly heterogeneous sacrificial functions. It would be useful here to fol
low the complicated (and doubtless barely unified) destiny of functions
such as the remission of sins, the preservation of grace, and the acquisition
of glory in the history of theology, to limit ourselves to just the three func
tions that Thomas Aquinas identifies in sacrifice (and the same undoubt
edly holds for the three different modes of sacrifice: the martyr, austerity,
the works of justice and the cult). 28 In reality, one thing is clear: the interi
orization, the spiritualization, and the dialecticization of sacrifice (or sacri
fices . . . )
.
Yet this clarity is itself somewhat obscure. What spiritualization

brought to light as "early" sacrifice is, in fact, a pure economy of exchange
between man and the divine powers. Everything can be reduced to the fol
lowing formulation from Brahminic ritual (or at least tei our meager un
derstanding ofit): "Here is the butter, where are the offerings?"29 The con
demnation of the "economism" of sacrifice runs through Plato as it does
through Christianity, Hegel, Bataille, and Girard. As such, the Western
sublation assigns a unity to the ancient rites (one of exchange) in order to
refuse it: it demands the "spiritual" unity wherein sacrifice should go be
yond itself, while remaining true sacrifice.
This first-simplistic and mercantile-version ofsacrificial economy
is hotly disputed. The do ut des is seen as inadequate to explain sacrifice. Yet
even when it is depicted as a means of access to the cohesion of the various
parts or forces · of the Universe, or as an expulsion of menace from com
munal rivalry, it is still a matter of a general economi�. In fact, economism
forms the general framework of representation in which the West takes
over a priori all early sacrifice, with the intention of proceeding to a general
"sublation" of this economism. Spiritualization has undoubtedly rendered
62 THINKING
us incapable from the outset of understanding the proper significance and

context of early sacrifice. We have absolutely no idea what the one who
says to his gods "Here is the butter, where are the offerings?" is really say
ing because we know nothing about the community in which he lived with
his gods or about the community of sacrifice that existed between them.
We also know nothing about the cohesion and communication between
the various parts of the Universe. Similarly, we do not know what mimesis
ac:;tually is in this context, which is a way of answering another accusation
leveled at early sacrifice-that it is only a simulacrum, since it doesn't re
sult in self-sacrifice. At most, we might follow Uvy-Bruhl's guess that
mimesis is methexis, participation (which, moreover, refers the question of
mimesis back to the question of economy). But we have no idea what "par
ticipation" means-except to say that, for us, it means a confusion of iden
tity and a communion whose secret lies precisely in sacrifice. Hence we go
round in circles. Yet one thing, and one thing alone, is clear: what we rep
resent as the bonds or communication of sacrifice stems from what we have
already invested in this idea. And this all boils down to the word "com
munion." What we would need to say, then, is this: we know precisely
nothing about a noncommunal mimesis/ methexis, what we do know,
though, is that communion implies a sacrificial negativity, one that thus
"sublates" what it is that we know precisely nothing about . . . (in broadly
similar fashion, Freud had no idea what "identification" meant, and in
equally similar fashion, we would need to ask whether Girard knew what
was meant by the contagion of mimetic violence).3o
The denunciation of economism and simulation runs through every
dialecticization of sacrifice, Bataille's included. This denunciation, already
confused, actually denounces itself In fact, and this is undoubtedly what
we need to acknowledge in Bataille's work, the fascination with sacrifice
doesn't prevent us from locating within its dialectic (or in its spiritualiza
don) a generalized "economism" and "mimeticism." Sacrifice as self-sacri
fice, universal sacrifice, the truth and sublation of sacrifice, is the very in
stitution of the absolute economy of absolute subjectivity, which can only
really mime the passage through negativity, in which, symmetrically, it can
only reappropriate or transappropriate itself infinitely. The law of dialectic
is always a mimetic law: if negativity was indeed the negation that it prop
erly ought to be, transappropriation would be unable to break through it.
Transgression is thus always mimetic. As is, as a result, communication or
the participation that is the fruit of transgression.
Ultimately, everything happens as if the spiritualization or dialecti

cization of sacrifice could proceed only by way of a tremendous act of self
denial. It denies itself under the figure of an "ear.1y" sacrifice, one that it
claims to know but actually constructs for its own ends and itself ratifies in
the form of an infinite process of negativity, which it passes off under the
"sacred" or "sacralizing" label "sacrific e." In this way, however, the sacrifi
cial destruction that it makes such a show of abandoning to "early" sacri
fice is installed at the heart of the process. At its center, this double opera
tion simultaneously combines, in an onerous ambiguity, the infinite
efficacy of dialectical negativity and the bloody heart of sacrific e.
To broach this denial or this manipulation is to touch on this simul
taneity; it is to be obliged to wonder whether dialectical negativity washes
away the blood, or whether blood must, on the contrary, inevitably hem
orrhage from it. In order to prevent the dialectical process from remaining
a comedy, Bataille wants the blood to flow. He wants to weigh up the hor
ribly lacerated corpse and the gaze-distraught or ecstatic?-of a tortured
young Chinese. But in so doing, Bataille brings to completion the logic of
the sublation of sacrifice, a logic that would tear sacrifice away from its
repetitive and mimetic character because o/its inability to know what repeti
tion and mimesis (or methexis), and hence sacrifice, really are.31 Even this
logic, which is presented simultaneously as the rupture and as the mimetic
repetition of sacrifice, would, in this very movement, be the sublation and
truth of sacrifice. Hence we would have to assume that the tortured man
sublates, in ecstasy, the horror that tears him apart� But how are we to as
sume this if the eye that watches, and . not the eye that is here being
watched, does not know what it sees, nor even if it sees? How are we to as
sume this without the subject of this gaze having already appropriated the
dialectic of the distraught and the ecStatic? How are we to assume it, then,
without letting fascination form itself into the dialectical mastery and
knowledge of sacrifice?
This is why, in the final analysis, this perhaps inevitable fascination
cannot be tolerated. This isn't a matter of sensitivity or squeamishness.
Rather, it is perhaps a matter of knowing what sensibility means or, more
accurately, of knowing whether sensibility can have good grounds for
wanting to be sublimated in sovereign fashion into what devastates it. It is
a matter of knowing whether horror should simply be left, so to speak, as
horror, something that suggests that transgressive appropriation {that of
64 EXISTING
the death of the subject and of the subject of death) is no more than an in
ept delusion.
Bataille concludes somewhat abruptly: "It is time to acknowledge
that nostalgia for the sacred necessarily comes to nothing, it is misleading:
what the contemporary world is lacking is the offer of temptation.-Or it
lacks the offer of temptations so heinous that they are useful only in so far
as they deceive those whom they tempt."32 The ambiguity is not entirely
assuaged in these. lines, whose syntax works to keep it alive: on the one
hand, the contemporary world "is lacking" truly sacred "temptations,"
given immediately and without recourse to nostalgia; on the other hand,
however, this world is itself."lacking," this time in the sense that it is at
faul�, its temptations illusory. The fact remains, therefore, that sacrifice, or
something about sacrifice, is always lacking.
Out of all of this, I want to hold onto the following yawning ambi
guity: W the inanity of sacrifice is recognized by the West, itself the inven
tor of this very sacrifice, it is perhaps only ever recognized in terms of the
idea of a sacrifice ofthis sacrifice. In this way, however, the dialectic con
tinually renews itself. Bataille knew this, and utterly despaired in the face
of such knowledge.
Bataille knew that sacrifice is . irredeemably and comprehensively

lacking. He knew that it is lacking as the practice of a vanished world. He
knew that it is also lacking insofar as there is no comprehensible continu
ity between that world and our Own (in other words, he knew that there is
basically no convincing reason for the disappearance of ancient rites, any
more than there is for the appearance of the West). Thirdly, he knew that
it is lacking insofar as it seemed to him that, for us, the sacrificial demand
was simultaneously upheld and impossible to satisfy. At its limit, therefore,
Bataille's thinking is perhaps less a thinking of sacrifice than a thinking
ruthlessly drawn or torn by the impossibility of renouncing sacrifice. On
the one hand, indeed, spiritual sacrifice renews the comedy that he exposes
in its supposed history; on t.he other, the noncomedy of bloody horror is
intolerable to the spirit of Western sacrifice . . .
Here, too, BataiIle will have gone only so far, finding in literature, or
in art in general, an answer to this lack. (Contemporaneously, Heidegger
was speaking, apropos the idea of art, of the putting [inlto [the] work of
The Unsacriftceable 65
truth, naming "essential sacrifice" as one of the ways in which this putting
[in]to [the] work happens within art; yet in the same essay, he found it
necessary to include "offerings and sacrifice" in the heart ofbeings open
to the clearing ofbeing.33 Here, though, I can't deal any further with these
suggestions.)
A link between sacrifice and art, and no doubt literature in particu
lar, unarguably runs throughout--or doubles-the Western process of
the spiritualization of sacrifice. Book 5 of Augustine's Confessions, for ex
ample, begins: '�ccept the sacrifice of my confessions, presented by the
hand of my tongue, which you formed and exhorted to confess Y-Our
name"-and, in so doing, paves the way for everything in our literature
that concerns "confession." But is there finally any real distinction be
tween "confession," literature, and art in general? Isn't the transgressive
presentation of a subject, who thereby appropriates himself and allows
hin;tself to be appropriated, a dominant theme of art? The Kantian sub
lime unfolds in a "sacrifice" of the imagination that "sinks back into itself
but consequently comes to feel a liking that amounts to an emotion."34
The entire program of poetry is given in this note by Novalis to Heinrich
von Ofterdingen: "Dissolution of a poet in his song-he shall be sacrificed
among savage peoples."35 And, moving quickly over this in order to come
back to Bataille, who writes: "Poetry . . . is . . . the sacrifice in which words
are the victims. . . . We cannot . . . do without the efficacious relations that
words introduce between men and things. But we tear them from these re
lations in a delirium."36
More precisely, art supplements, takes over, or sublates the impasse of
sacrifice. This impasse stems from the following alternative: "If the subject
is not truly destroyed, everything remains in ambiguity. And if it is · de
stroyed, the ambiguity is resolved, but resolved in the void where every
thing is eliminated."37 The alternative, then, is that between simulacrum
and nothingness, which is also to say that between the representation of
early sacrifice and the postulation of self-sacrifice. "But," Bataille contin
ues, "it is precisely this double impasse that results in the meaning of the
moment of art, which offers man an uninterrupted rapture by throwing us
upon the path of a total extinction, and leaving us temporarily suspended
there."38 This "uninterrupted rapture" is still a dialectical formula. There is
rapture to the extent that art keeps us "suspended" on the verge of extino
tion-a way of recognizing a new form of simulacrum. But it is "uninter
rupted" because it brings with it the intense restlessness of emotion that
66 EXISTING
approaches extinction. This emotion is not strictly one proper to art: it is

possible only in the approach to the bloody heart of extinction. Bataille
writes a little further on:
"The endless festivity ofworks of art is rhere to tell us that a triumph . . . is prom
ised to whomever leaps into rhe uncertainty of the instant. This is why we cannot
be too interested in rhose moments of mass intoxication that shoot through rhe
opacity of rhe world with apparently cruel flashes oflightning, in which seduction
is bound up with massacre, torture, and horror."39
Art itself displaces the gaze once again: the "appearance" of cruelty is
in fact singularly ambiguous. Simultaneously restricted to simulacra and
holding for this cruelty alone, this horror that it brings to light and that
only means something (ifwe still have to speak in these terms), only has any
force, if it is not simulated. The article is entitled ''Art, an Exercise in Cru
elty." Whatever turns it takes and however short it may be, its concern is the
actual exercise of actual cruelty, at least in terms of its emotion. And yet
artistic mimesis, as mimesis and, paradoxically, despite its avowedly mimetic
character, ought to open the way to a genuine mathexis, to a genuine par
ticipation in what is revealed by the horror of the' emotion. Art is worth
while, then, only if it still refers to the sacrifice that it supplements. It can
only sacrifice sacrifice by continuing to sacrifice it to sacrifice. (Schelling, by
contrast, writes that "pure suffering can never be an object of art.")40
Bataille sees the difficulty and immediately changes direction. Speak
ing of the sacrificial events evoked throughout the text, he writes: "This is
in no way an apology for horrific events. It is not a call for their return."41
And yet he cannot but shift position once again and slip a restriction into
his refusal (and not, in this context, a"denial): "But . . . in the moment of
rapture, these moments . . . bear within themselves the whole truth of the
emotion."42 And further . on: "The movement [�f art] effortlessly places it
on a par with the worst and, reciprocally, the depiction of horror reveals
within it an opening to everything possible."43 In this reciprocity-how
could we miss it?-something about, mimesis is annulled or, rather, mime
sis reveals (and Bataille does indeed speak in terms of revelation . . . ) an
actual methexis. Through a still quite real transgression, art communes with
horror, with the pleasure of a momentary'appropriation of death.
As such, art either falls well short of what is asked of it: it still just
and only-mimes the spilling of blood, or it answers it all too well, sug
gesting the real emotion of real horror.
· .
. --,"._, �'-- .-.- " - . � , .. �.- " - -",
.-, --:... � - ." � . .. . . _" .-'-.-:,..... .;.. ..�_.,:;::. ..;_;•..-_ .... :..:.i� �_. �:.:..;�_....-;.::.·... ..� o-_,_. .-"'.,� ......:.
•:...:. "_...•
By dismissing the wearisome horror and pale glamor of spilt blood,

by replaci�g it with a rapturous horror, albeit one "on a par with the
worst," what we see is that, on the one hand, we no longer have any means
of access to act�al sacrifice but that, on the other, thought itself is still
modeled on the logic of and the desire for an infinite "transappropriation."
For Bataille, however (and perhaps, perhaps even undoubtedly, for the en
tire Western tradition), the only question is that of an inaccessible acces
sion to a moment of disappropriation. But sacrificial thought does not stop
appropriating or transappropriating this means of access. From the mo
ment that it is placed under the sign of sacrifice, the very chasm of horror,
its "opening to everything possible," is appropriated. And this because the
sign of sacrifice is the sign of the repetitive and mimetic possibility of a
means of access to the obscure place from which repetition and mimesis
are supposed to derive. But what if there were no such place and, as a re
sult, nothing sacrificeable?
Equally, we could say: it is by appropriating death that sacrifice con
ceals itself from the truth of the moment of dispropriation. For Bataille
himself, what is finally at �take in sacrifice is not death: "The awakening of
sensibility, the passage from the sphere of intelligible (and useful) objects
to excessive intensity is the destruction of the object as such. Of course,
this is not what we usually mean by death . . . ; it is, in a sense, quite the
opposite: in the eyes of the butcher a horse is already dead (meat, an ob
ject)."44 On this reckoning, it is easier to grasp the substitution of art for
sacrifice. But this could only ever be at the cost of a genuine suppression of
sacrifice. In fact, in this very passage Bataille inserts one of his most severe
condemnations of sacrifice: "This is not what we usually mean by death
(and sacrifice is fundamentally misguided) ." As long as the sacrificial· mo
ment is maintained within art, with its emotion "on a par with the worst,"
such misguided zeal cannot be absent. Put differently, it should not be a
matter ofsacrifice and the horror of death, whether on a real or a depicted
altar, leading onto itself alone and not into a "sovereign moment." Once
again, if "sovereignty is NOTHING,"45 as Bataille tired himself out saying, is
there anything that could be sacrified for it?
VI
Before putting this question to the test in more detail, I want to fol
low Bataille one step further. I want to follow his reflections on the Nazi
68 EXISTING
camps through the most developed of his texts on this subject (about
which, however, he wrote very little), "Reflections on the Executioner and
the Victim," a text that deals with David Rousset's The Days of Our
Death.46
This text makes �o mention of the word "sacrifice." What it does do,
however, is present the components of a sacrificial logic. First of all, the
camps display the very thing that is at stake in sacrifice: "In a universe of
suffering, of baseness and stench, we still have the luxury [le loisir} of mea
suring the abyss, its absence of limits and this truth that obsesses and fas
cinates." Yet in order to know the "depths of horror," we "must pay the
price." This price, if I understand Bataille correctly, is double: it consists,
first, in the conditions necessary for "a'senseless experience" and thus in the
very existence of the camps; second, it consists in a will that agrees to face
this horror ;J.s a human possibility. This will has to be that of the victim.
(Bataille finds it in the "exaltation" and "humor" present in Rousset.) To
refuse it would be "a negation of humanity hardly less degrading than that
of the executioner." If it isn't a matter of self-sacrifice, it at least appeals, in
spite of everything, to the position of a subject. Undoubtedly, as Bataille
goes on to say, "horror is evidently not truth: it is only an infinite possibil
ity, having no limit other than death." Yet the "fascinated" approach to
truth supposes that, "in some way," "abjection and pain reveal themselves
fully to man." Such a possibility was given by the camps. We can see this
most dearly in "the depths of horror" that "lie in the resolve of those who
demand it." This resolve on the part of the· executioners is a resolve that
seeks "to ruin the refuge that, in the founding of civilized order, re<l;Son it
self is." (We should recall that, for Bataille, the Jews at Auschwitz were "the
incarnation of reason.") And yet civilized reason is only ever a "refuge,"
limited and fragile. The "rage of the torturer" that rises up against it comes
from humanity alone, and not even from a special brand of humanity
("parties or races which, .we might suppose, are in no way human"). No,
this possibility is "ours." For reason to know this possibility as such is for
reason to be capable of "calling itself unteservedly into question," some
thing that secures no definitive victory, merely the higher human possibil
ity of "awakening': "But what would awakening be if it shed light only
upon a world of abstract possibilities? If it did not first awake to the possi
bility of Auschwitz, to a possibility of stench and of irreparable fury"?
Within the realization of this possibility comes, then, a: necessity.
For Bataille, this necessity dearly derives from the fact of the camps'
existence and from the will to face up, without any moral refuge, to what
they have shown. This isn't situated as an a priori demand. Not for a mo
ment do I want to suggest the slightest complicity, however unconscious,
on Bataille's part. No, I believe simply that we need to consider the fol
lowing:· the logic being pursued here is the dark reverse of a clear logic of
sacrifice (so long as we can isolate such a "clarity" . . . ), This logic states:
only extreme horror keeps reason awake. The logic of sacrifice says: the
only awakening is an awakening to horror, in which the instant of truth
shines through. The two statements are a long way from being conflated.
But the latter can always harbor the truth of the former. If Bataille does · not
draw the same conclusion and if the camps remain for him beyondsacrifice
(this, at least, is what he says), then isn't this because the horror of sacrifice
falls silently outside any sacrificial sense, outside any possibility of sense?
Bataille can't bring himself to say this and, despite everything, preserves
the possibility, broached at the very end of the text, of seeing "poetry" as a
form of "awakening" (although we know now to what sacrificial return
"poetry" is destined, however much it may be "on a par with the worst").
Here, sacrifice would silently fall headlong into an antithesis that is
also its culmination: a revelation of horror with no accompanying means
. 'of access, no appropriation, save that of this infi . nite or indefinite revela�
tion itself. '
A sacrificial interpretation of the camps is thus undoubtedly possible,
even necessary, but only if we're prepared to invert it into its antithesis
(from Holocaust into Shoah). Such a sacrifice leads nowhere, provides no
means of access. In a sense, though, it could be called a model of self-sac
rifice, since the victim of the camps, reason itself, is also on the side of the
executioner, as the analysis of the state-controlled and engineered mechan
ics of extermination has constantly emphasized. Bataille writes elsewhere:
"The unleashing of passions that was rife in Buchenwald or Auschwitz was
an unleashing governed by reason."47 And it wouldn't be surprising were a
certain rationality to culminate in self'sacrifice, if self-sacrifice-which we
can now, to be sute, equate with Western sacrifice as a whole-accounts
for a certain process' of Reason. As Heidegger might have put it: reason ap
propriates the abyss of its own subjecthood.
At the same time, however, and without contradiction, the camps
represent an absence of sacrifice. They bring into play an unexpected ten
sion between sacrifice and the absence of sacrifice. And it is fairly signifi
cant that the description of the privileges of the Aryan race in Mein Kamp!
70 EXISTING
culminates in the possession of an absolute sense of sacrifice: "The Aryan

does not attain his full greatness through his spiritual properties in them
selves, but attains it insofar as he is ready to put all his capacities at the
service of the community. In him the instinct of preservation has reached
its noblest form, for he voluntarily subordinates his own self to the collec
tive and, when it is required, he will even sacrifice it."48 Or again: "Poster
ity forgets those men who only served their own interests, and celebrates
those heroes who renounced their own happiness."49 Thus the Aryan is ba
sically one who sacrifices himself for the community, for the race; that is,
one who gives his blood for the greater Aryan Blood. He is thus not merely
one who sacrifices himself but is, in essence, sacrifice itself, sacrifice as such.
Of course, there's nothing to be sacrificed here; he has only to eliminate
what is not himself, what is not living sacrifice.
Immediately after this description of the Aryan race comes the de
scription of another race, one dominated by the instinct of preservation:
"In the Jewish people, the will to sacrifice does not go beyond the pure and
simple instinct of individual preservation. "50 So there is a double reason
why the Jew is not sacrificed, and why he ought not to be sacrificed: on the
one hand, nothing from him should be appropriated, the only requirement
being the defensive and hygenic one of ridding oneself of his vermin; on
the other, sacrifice is fully present, invested and completed with the Aryan
race as such. It is the Aryan who, by exterminating the Jew, sacrifices him
self to a severe duty. ,
We had the moral right, we had the duty towards our people to annihilate this
'people who wanted to annihilate us. . . . We can say that we have fulfilled the
most difficult duty out oflove for our people. . . . You have to know what it is like
to see one hundred bodies side by side, or even five hundred or one thousand. To
have kept control and, at the same time . . . to have remained decent, that is what
has hardened us. This is a glorious page of our history, never written and never to
be written.51 .
This was how Himmler presented this sacrifice of duty to his Gruppen
fiihrer in 1943: the sacrifice that not only defies human strength but even
sacrifices any memorial to the glorious sacrifice that it is. In this way,
Himmler simultaneously declares that, on the side of the victims, it is a
matter of what is intolerable, while on the side of the executioners, it is a
matter of the most silent, inner sacrifice.
True, Himmler doesn't use the word "sacrifice." Indeed, that would
honor the victims far too much, would allow them to claim too great a part
in this account of the executioners' glory, something that must be refused

them. At precisely this point, it seems to me, sacrifice itself disappears.
Moreover, it's not as if the camps can be described in terms of rites (or, if
they can, that is only by way of certain misdirected, perverted aspects of
such rites)� Bataille notes that "the rite has the virtue of fixing 'sensory at
tention' on the burning moment of passage: for sensibility, either what is
already is no longer, or what is no longer is more than what was. This is the
cost by which the victim escapes debasement, by which the victim is dei
fied."52 Without rites, all that's left is debasement.
Hence it is the S.S. man or the Aryan who draws or absorbs into
himself the power and fruit of the sacrifice, of its secret; he is already, in his
very being, the sacrificial secret itself. Confronted by him, we are left with
naked horror alone, a parody of immolation and of fumes rising toward
the sky, a parody that no longer has even the right to this name. With sac
rifice even the possibility of examining the simulacrum vanishes. The
Aryan presents devastation, night and fog: yet Nacht und Nebel is just as
easily the disastrous secret of his own appropriation, of the regeneration of
his Blood. This is no longer Western sacrifj,ce, but the eclipse of it [c'est ne
plus le sacrifice occidental, cest l'occident du sacrifice] . A second rupture takes
place, and this time it is the rupture of sacrifice itsel£ Or, rather, it is its
brutal interruption: in place of immolation there is no more immolation.
In 1945, while in exile, Hermann Broch published The Death o/Vir

git. In the part entitled "Fire-Descent," in which Virgil undergoes the
temptation to sacrifice the Aeneid, Broch offers a picture of this decline of
sacrifice. It is no longer an art fascinated by horror, but an art that knows
it must now wrench itself from fascination:
On every side the cities of the globe were burning in a landscape devoid of scenery,
their walls crumbled, their flag-stones cracked and burst asunder, the fumes of de
cay on the fields reeking of blood; and the godless-godseeking lust of sacrifice
raged everywhere, sham-oblation after sham-oblation was heaped up in a frenzy of
sacrifice, men mad with sacrifice raged all about, slaying the next in turn in order
to shift their trance onto him, razing their neighbour's house and setting it in
flames in order to lure the god into their own; they stormed about in evil vehe
mence and evil rejoicing-immolation, slaughter, brand, demolition.53
72 EXISTING
VII
" . . . immolation, slaughter . . . " We can no longer distinguish be

tWeen them. Immolation has itself been put to death. "Godless," "sham"
'
sacrifice has forfeited all right and all dignity. Transgression transappropri
ates nothing. Or, rather, appropriating nothing more than the this: the vic
tim as cadaver, the expanse of the mass grave, and the other (for whom the
name of "executioner" is hardly fitting) as a pute instrument in the mass
. production of the mass grave. As such, the decomposition of sacrifice not
only proves to be entirely possible thanks to technological means, but also
declares itself an exemplary, hideously exemplary, figute of technology. 54
This doesn't necessarily involve a condemnaJ:ion of that "technol
ogy." Quite the opposite. What is hideously exemplary here (that is, if I can
put it this way, hideous in exemplary fashion) is that "technology" is pre
sented as the operation of a kind of sacrifice, or of the last secret of sacri
fice, even though sacrifice decomposed within it. Rather, then, the ques
tion that needs to be raised is this: Sho�dn't the age of technology be
understood as the age of the end of sacrifice? Shouldn't it be understood as
the age of the end of transappropriation? Or, to put it another way, as · the
age of a completely different mode of appropriation: no longer the mode
of sacrificial transappropriation, but that of what Heidegger himself tried
to think as Ereignis? Stretching this interpretation somewhat, and without
being able to analyze or justifY it here, I will say that "technology" is Ereig
nis, that is, the appropriating event of finite existence as such. In a sense,
then, rather than appealing to an "essence" of technology, wouldn't it be
more appropriate to think about technology itself in a way that, by turn
ing every possible mode of appropriation back on itself and on its own
"one dimensionality" (if, for a moment, I might venture this term in a
nonreductive sense), it opens up once more the question of finite existence
as such and the question of its equally finite appropriation. (Here, though,
we would need to engage with Heidegger in a very intense way.)55 Granted,
the technology,of the camps is one of technology's possibilities" but it is its
sacrificial possibility. Inversely, the immolation that took place in the
camps is certainly one of the possibilities of sacrifice, but it is its techno
logical possibility, one that contradicts sacrifice. Why? Because the Aryan
is sacrifice, and, rather than using technology for sacrifice, he uses it to ex
terminate the nonsacrificial. This is why the camps present not just horror,
but a lie. They are a sham-a fact born� out, moreover, by the coded vo- .
----�-..---��-- --. --
cabulary of their administration, beginning with the expression "final so

lution." (Heidegger, it seems, had no idea about this particular lie. On
the contrary, his references to technology, to the "sending" of being, to
"danger,"56 seem to make his subsequent shameful silence about the
camps almost inevitable: a silence, perhaps; about a "sacrifice" that-like
Bataille?-he believed should be thought, without ever daring to name it
as such.)
Sacrificial transappropriation is the appropriation of the Subject who
penetrates into negativity, who keeps himself there, enduring his own dis
memberment, and who returns sovereign. (Indeed, this negativity might
still be playing the same, subtle role when Bataille calls it "unemployable
negativity.") Fascination with sacrifice expresses the desire for this transfig
uration� Perhaps this is what Lacan means when, talking about the camps,
he says that "sacrifice signifies that we try to find evidence of the presence
of the desire of this Other, whom I have called the obscure God, in the ob
ject of our desires. "57 An obscure other desire consecrates my own desire as
its, thus constituting me as the absolute propriety of the Self and its limit
less self-presence. This demands sacrifice, the production of the object as
reject, even if the object is the subject proper--which actually transappro
priates it.
If sovereignty is nothing, though, if "the obscute God" is nothing
�ore than the very obscurity of desire faced with its own truth, if existence
simply aligns itself with its own finitude, then we need to think it at a d,is
tance from sacrifice.
On the one hand, we need to acknowledge once and for all what has
been at stake since the beginning of the Western sublation of sacrifice: we
know precisely nothing about early sacrifice. We need to admit that what
we think of as a mercantile exchange ("Here is the butter . . . ") gave support
and meaning to countless individual and collective existences; equally; we
need to admit that we have no way of knowing what underlay this gesture
(all we can do is guess, very vaguely, that this exchange itself went beyond
exchange, and that mimesis and methexis here have nothing to do with what
our representations of them actually show; perhaps the simulacrum here
doesn't actually simulate; perhaps participation here doesn't actually achieve
anything in the way of communion). Still, we know that it's absolutely im
.possible for us to say, "Here are lives, where are the others?"
From this it follows that we need to concede once and for all that the
economy of Western sacrifice is finished, that it ends in the decomposition
74 EXISTING
of the sacrificial operation itself, this bloody transgression that overcame

and infinitely appropriated the "moment of the finite."
On the other hand, though, finitude isn't a "�oment" in a process or
an economy. Finite existence doesn't have to give rise to its meaning with
a burst that destroys itS finitude. It's not just that it doesn't have to do it but,
in a sense, it simply can't do it; thought rigorously and in accordance with
its Ereignis, "finitude" means that existence can't be sacrificed.
It can't be sacrificed because it's already, not sacrificed, but offered to
the world. There is some resemblance between the two, of course; so
much so, perhaps, that we'd hardly notice the difference. Yet nothing is
more different.
. We might say: existence, in essence, is sacrificed. This would be to re
peat one form of the basic expression of Western sacrifice. To it, though,
we'd have to add another form, the pinnacle of our morals, which necessar
ily follows from it: existence, in its essence, is sacrifice.
To say that existence is offered is, it's true, to employ a word from the
vocabulary of sacrifice (if we were speaking in German, it would actually
be the same word: Opfer, Aufopferung). But this is simply in order to try to
underline the fact that if we have to say that existence is sacrificed, it is sac
rificed by no one and to nothing. "Existence is offered" means the finitude
of existence. Finitude isn't a negativity cut out of being and, through this
incision, offering a means of access to the restored integrity of being or sov
ereignty. Finitude expresses what Bataille means when he says that sover
eignty is NOTHING. Finitude corresponds simply to the matrix-formula of
the thought of existence, the thought of the finitude of being or even the
thought of the sense of being as finitude of sense. And this formula? "Th\,!
'essence' of Dasein lies in its·existence."58 "Dasein" is a being, a being that
exists [lexistant] . If its essence (in quotation marks) lies in its existence, this
is because a being that exists has no essence. It cannot be referred back to
the transappropriation of an essence. Rather, it is offered or presented to
the existence that it is.
A being that exists exposes the being of its essence devoid of all
essence and, as a consequence, devoid of all "being": the being that is not. 59
This negativity, however, doesn't operate dialectically so as to allow this be
ing to be or, finally, to allow it to be a transappropriated Self On the con
trary, this negation confirms "inappropriation" as its most appropriate
mode of appropriation, as, in fact, the only mode of all appropriation.
Equally, the negative mode of this utterance-"being is not"-doesn't
bring a negation into play, but an ontological affirmation. This is what

Ereignis means (and, in a different' context, it is also what "freedom"
means60).
A being that exists happens. It takes place. And this happening or
this taking place is merely a being-thrown into the world. In this throw it
is offered. And yet, it is not offered by anyone or to anyone. Nor is it self
sacrificed, since nothing, no being, no subject, precedes its being-thrown.
In fact, it isn't even offered or sacrificed to a Nothingness, to a Nothing or to an
Other, in whose abyss it could still impossibly enjoy its own impossibility ofbe
ing. And it's on precisely this point that Bataille and Heidegger need to be
relentlessly corrected. Corrected: that is to say, led even further away from
the slightest drift to sacrifice. This drift toward or through sacrifice is al
ways connected to the fascination with an ecstasy turned toward an ab
solute Other or toward an absolute Outside, into which the subject is emp
tied the better to be restored. In this way, the subject is promised, through
some mimesis and through some "sublation" of mimesis, methexis with the
Outside or the Other . . . Western sacrifice corresponds to an obsessive fear
of the "Outside" of finitude, however obscure and groundless this "out
side" may be. "Fascination" already indicates . something of this obscure de-
,
sire to commune with this outside.

Western sacrifice seems to reveal the secret of mimesis as the secret of
an infinite, trans-appropriating methexis (the Subject's participation in its
own subjectivity, so to speak)'. This is the appropriation ofan Outside that,
by beirig appropriated, abolishes the very idea ofa "methexis, " and ofa "mime
sis. "Ultimately, no secret is actually revealed; Or, rather, all that's revealed
is the fact that there is nothing but this secret: the infinite sacrificial secret.
Yet the exact opposite of this revelation without revelation, an oppo
sition that lies at the very limit of the disintegration of sacrifice, might be
that there is no "outside." The event of existence, the fact that there is,
means that there is nothing else. There is no "obscure God."There is no ob
scurity that cOl,lld be God. In this sense, since there is no longer any clear
divine epiphany, what "technology" presents to us might well simply be, if
I can put it this way, clarity without God. This clarity, though, is the clar
ity of an open space in which an open eye can no longer be fascinated. Fas
cination is already proof that something has been granted to obs�urity and
to its bloody heart. And yet there is nothing that can be granted, nothing
but "nothing." "Nothing" isn't an abyss open onto an outside. "Nothing"
affirms finitude and this "nothing" immediately leads existence back to it-
76 EXISTING
selfand to nothing else. It de-subjectifies it, removing from it any possibil

ity of its being appropriated by anything other than its own event, its ad
vent. This sense of existence, its sense proper, is unsacrificeable.
In a way, it's true, there is no horizon; that is, there is no limit to
transgress. In another way, though, horizon is all there is. On the horizon
something is constantly risi�g and setting. And yet this is neither the rise '
nor the fall, the orient nor the occident of sacrifice. It is, so to speak, "hori
zonality" itself. Or, rather, finitude; Or, better still, it is the fact that sense
needs to be made of the' infinite absence of appropriable sense. Again,
"�echnology" might well constitute just such a horizon (so long as "tech
nology" is understood as the regime offinitude and its "unworking"). That
. is, and there's no getting away from it, the closure of an immanence. This
immanence, however, would neither lose nor lack transcendence. In other
words, it would not be sacrifice in any sense of the word. What we used to
call "transcendence" would signify instead that appropriation is immanent.
Such "immanence," however, is not a vague coagulation; it is nothing more
than its own horizon. The horizon holds existence at a distance from itself,
in the separation or the "between" that constitutes it: between life and
death . . . We don't enter into this between, which is also the stage of
mimesis and methexis. Not because it would be an abyss, an altar, or an im
penetrable heart, but because it is nothing other than the limit of finitude.
And this limit, if we're not going to confuse it with · a "finiteness,"
Hegelian, for example, is a limit that leaps over nothing. Existence alone
leaps, leaping over itself.
, Is it simply a matter of shaking outselves out of a mediocre and lim
ited life? The suspicion that such is the case can only have come from a
mediocre and limited life. And it's this very life that can suddenly be car
ried away, fascinated by sacrifice. It's not a matter of denying. misery or
death. Still less is it a matter, were this possible, of throwing ourselves into
something for the sake of some transappropriation. No, it is a matter of a
misery that no longer sacrifices and that we no longer sacrifice. This mis
ery, though, is certainly a real one, perhaps the most real of all. It does not
rule out joy (or pleasure), nor is it the dialectical or sublimating threshold
that leads to it. There is no threshold, any more than there is any sublime
or bloody gesture for crossing it. .
Mter all, Western sacrifice has almost always known-and has al
most always been prepared to say-that it was sacrificing to nothing. This
is why it has always tended to say that true sacrifice was sacrifice no longer.
In the future, though, it will fall to us t6 say that there is no "true" sacri
fice, that real existence is unsacrificeable, that the truth of existence is to be
unsacrificeable.
Existence isn't to be sacrificed, and can't be sacrificed. It can only be
destroyed or shared. This is the unsacrificeable and ·finite existence that is
offered up to be shared: methexis is henceforth offered as the sharing out of
the very thing that it shares: both the limit of finitude and respect for the
unsacrificeable. The effacement of sacrifice, the effacement of communion,
the effacement of the West: this doesn't mean that the West could be re
duced to what came before it, or that Western sacrifice could be reduced to
the rites that it was supposed to have spiritualized. Rather, it means that we
are on the verge of another community, another methexis, one in which the
mimesis of sharing would efface the sacrificial mimicry of an appropriation
of the Other.61
Translated by Richard Stamp and Simon Sparks
4
The Indestructible
Destruction has become a fact of culture or of civilization. It has be

come not only, as is always the case, an action perpetrated, and not only a
grand-scale operatiori, systematic in its object and methods (the genocides,
the camps, the Armenian catastrophe, the Jewish Shoah, Hir�shima and
Nagasaki, the Stalinist deportation, the shelling, napalm, defoliation, and
oil fires that characterize modern warfare, the gassing of the Kurds, and so .
on-a litany that's both unbearable and entirely necessary), but also a
"value" or the distorted reflection of a value, the index, even, of a duty, a
task, or a destiny. Perhaps this history is itself in the process of touching
upon its limit; at the very least, though, we'd need to say that destruction
has ended up becoming just such an index, if not the iridex, of our culture.
From cathedrals to skyscrapers, construction had been one of our great
motifs-the builder's grand gesture of power and domination. Yet all con
struction rests upon ruins or provides shelter from the powers of ruination.
"Reconstruction," a postwar motif, wasn't the renewal of something prior
but simply, as the term indicates, a testimony to the onslaught of destruc
. tion. The latter began long ago; it has henceforth left a definitive mark
upon the movement of the West, leaving us anxiously awaiting a motif that
would oppose destruction while avoiding any return to either construction
or reconstruction.
Until recently, destroy! was the name of a mode, a gente, an ethical
and aesthetic demand. If the word is no longer much in fashion, the thing
itself still haunts our manner of existence and thinking. It is important,
The Indestructible 79
however, to recall how a comparable demand, though made in a different

tone, could be heard as early as 1909, when Marinetti wrote, in the "Fu
turist Manifesto": "We will glorify war-the world's only hygiene-mili
tarism, patriotism, the destnictive gesture of the freedom-bringers, beauti- ·
ful ideas worth dying for, and scorn for women. . . . We will destroy the
museums, libraries, academies of every kind."2
We would need to go back to the ambivalence of the romanticism of
ruins, or back to Nietzsche ("We must be destroyers!"), to Mallarme ("De
struction was my Beatrice"), to move from these to Freud's Destruktions
trieb or to the Nietzschean echoes in Benjarnin's "destructive character." It
goes without saying, perhaps, that these figures are all quite different-if
not actually opposed. Yet the fact remains that a major theme of necessary
or desirable destruction runs through the thinking and the action of our
modern age.
There is a sense in which ,this destruction, despite having caused mil
lions of deaths, has taken the place of death. Death as such, even the death
inflicted by the assassin, can only destroy because, in the same instant
and only for this instant-it affirms the .identity or the singularity that it
permanently erases. The two events go hand in hand, this affirmation and
this death, even if there's no mediation between them.
Yet destruction has a far more remote origin and a far more remote
destination. Destruction doesn't always attack a life; sometimes we de
stroy more by allowing what we would destroy to stay alive. (And it
should be said that this is, for example, a problem that lies at the heart of
the repudiation of the death penalty-which isn't to say that this repudi
ation needs to be challenged, since the death penalty has also become a
sign of destruction.)
Destruction, as the term itself implies, attacks what is "constructed"
(or "instructed"). It defeats, breaks, devastates, pillages, and renders an ed
ifice, a composition, a structure unrecognizable, unidentifiable. It uproots
or dissolves what binds, joins, and gives rise to the whole. Destruction at
tacks the bond and the joint as such. (In Greek, we could say that it attacks
the system. Which raises the question: Has destruction been the result of
our various systems?)
Destruction attacks sense rather than life. Destruction is hatred of or
despair at sense; or, what amounts to much the same thing, it abandons the
relentless demand for a single sense, the demand for a single and sovereign
sense-the demand, that is, for the single self in place �f sense.
So EXISTING
And yet how could there ever be a sense that wa$n't single and sover
eign? It's the inability either to avoid or to respond to this question that
leads to destruction as sense: sense busy dismantling sense.
Doubtless the destructive assault first targets the sense of the other or
the other of sense. But it also strikes the. sense of the proper. Dism�tling
an other sense isn't possible without dislocating sense in general. The prin
ciple of destruction would harbor a general renunciation of sense, there
fore, including the very sense of the act that we name thus: destroy. Again:
. this act is the final flare of sense extinguishing itself-its final scorched im
print. (Death would be something quite different, a flare of sense that eter.,.
nalizes itself.)
To destroy would be not to support sense or to despaIr of it. Once
we're left with broken structures, dislocated joints, displaced pieces, there
is no longer any sense. There is no longer any worry over sense.
Cultures other than the modern one have all been familiar with in
tentional destruction. They have always known what it was to raze a vil...
lage, to exterminate a tribe: to remove them from the various crucibles of
sense, from the points at which a sense is either emitted or concentrated.
Successful destruction has always tended to efface even the memory
of the existence that has been destroyed, and even the possibility of pos
terity (salt on the ruins of Carthage), offering only the assutance that
this-or that, this one here, that one there-never existed and would
never exist. Destruction strives not simply to annihilate a being, but to
shatter the very structure that renders it possible, reaching into its origin
and its end, tearing from it its very birth and death.
And yet the culture of destruction, driven by a will in pursuit of a
single and unalterable sense, releases an infinite sense or a nonsensical in
finity. A plan for the world, for humanity, for history, the horizon of econ
omy and right, the generalized and circular contract-form: a hateful and
desperate contempt for sense in general. Dostoyevslo/'s "anything goes."
When anything goes, it is destruction, first and foremost, exclusively, even,
that goes-including self-destruction.
The desire to destroy resents connection, interplay, assembly and its
complexity: it resents the fold (it resents not the completed structure, but
�hat which structures; not the assembled, but its assembly; not the folded,
but the fold). And in order to destroy, we fold to the extreme, we squeeze,
we break. The infant destroys because there's no question of considering or
exploring the assembly of the object, of the machine. The infantile man
destroys because he can't tolerate the obstacle of complexity, the subtlety of

the mechanism, the detours, the delays of the process. Equally, though, he
can't support the simplicity or the delicacy of the various points of contact,
the spacings of interplay. As such, the culture of destruction is a culture
that renders itself and other cultures opaque, dissembling the arrangement
of their systems or of their sense. A culture of the opacity of sense.
Which is also to say, culture of an excessive demand for sense.
Excessive because it makes demands.
What , is it that opposes destruction? Pity and compassion
(Rousseau).
(Here, we'd need patiently to analyze the gesture by which Rousseau,
in the Preface to the Confessions, pleads with us to refrain from destroying
the portrait that he's painting: "1 beg you, in the name of compassion and
the whole human race, not to annihilate a useful and singular work.")
But neither pity nor the supposed communion with the other nor the
projection of the self onto the other leave the horizon of the self We need
to understand this differently,'as a compassion that places the self outside
itself. The gap may be infinitely narrow, but it is so infinitely.
Love looks more like pity than it does destruction. Or perhaps it
looks as much like one as it does the other. But this is why love is always
both invoked as the principle of the social bond and pushed back to its
periphery, to the uncertainty of its outer fringes. Love neither opposes
nor supports destruction. It is merely the name of the problem, of our
problem.
But what if there were a curiosity for the other and for the other in
"itself"? Not a curiosity about the sutface but a curiosity about the origin,
about existing for the sake of existing? A curiosity without pathos, there
fore; not a cold interest, but not a sentimental one, either. What if the
other as such were simply interesting?
Not to destroy the other involves more and is more difficult than re
spect or even love for the other. It involves being sensitive to the necessary
secret, to the elusiveness of the sense of both the other and oneself It in
volves being sensitive to play without childishness; it involves being sensi
tive to separation.
We can be certain that what we destroy will no longer escape, will no
longer conceal itself, will no longer make strange signals from afar. -What
we destroy we have in our' hands, then in our fist, then under our feet
and then nowhere. What we don't destroy subsists somewhere. This is the
82 EXI STING
discrete grandeur of tombs; they are not monuments but distinct places,
and that is why they stand in stark contrast to the "mass grave. "
The destroyer wants to suppress this "somewhere," this plurality of
places. The destroyer dislikes places-the interplay of presences, their .
sense. The space of destruction is a dislocated space, a space without place,
undifferentiated, deserted, chaotic. In the same way, the time of destruc
tion is an annulled time, stretched out and empty: instead of the future,
what might have been is petrified, made present.as stillborn.
Put differently, the space-time of destruction would be the very op
posite of the tomb; it would be the stomach in which flesh, having been
devoured, digests itself In this instance, the mass grave would become the
body, the reopening of a sense. Cannibalism-which has occupied our re
ligions, Dionysian and Christian figures, for so long-would be the struc
turing destruction. Whether the destruction is of the heart or the stomach
of the structure, this doubtless gives us one of the most emphatic motifs for
our cwture: under the guise of mystery, this is actually the incarnation; un
der the guise of melancholy, incorporation; under the guise of finite know
ing, the madness of systems or structures.
If it's true that we have produced a culture of destruction, we need to
try to understand why. Clearly it's not enough to evoke the "evil" in man
or his destructive "instinct." Rather, we need to consider the possibility
that our culture has seized upon evil as an intrinsic possibility-neither ac
cidental nor secondary-of being itself, or that culture has pointed out a
"destructive drive," originally involved in the drive toward life and propa
gation, the two as one (moving toward two forms of perpetuation-but
not toward existence).
So our culture shelters within itself the possibility of destruction. Re
gardless of whether this means that this culture should itself be destroyed,
this is precisely what it undertakes to do. We can date-from the conquest
of the Americas-the moment when the West, by revealing a new aptitude
for destruction (unrelated, in this sense, to the conquests of the Romans,
barbarians, Arabs, and Turks, or to the Crusades), initiated its own self-de
struction. Millions of Native Americans were destroyed, along with their
cultures; so, too, were thousands of Europeans, destroying themselves in
the rage for conquest and gold as their culture began to gnaw away at itself
with doubts concerning its validity, its "Catholicism," its very "humanity, "
even. I t was a long time before this culminated i n the self-destruction of
Europe in a "total" war whose very invention astounded itself. But, finally,
we are here; and this is history, the very construction of our history.
And we've caused this thing to spread to the globalizing rhythm of a
technology variously employed by war, by the control of war, by the de
struction of places and of histories, by the control of this destruction-al
ways more than destruction, always more than control, a control that, de
structive in its turn, spirals, indeterminate, out of control.
Self-destruction: the mark of a culture in which suicide holds a dis
tinguished place, from Socrates to Werther, to Stefan Zweig, to Primo
Levi, to so many others. I'm not talking here about Japanese suicide nor
even Stoic suicide, in which we run up against an objective limit that cuts
us short. Rather, it is a matter of a fundamentally destructive suicide that at
tacks the self, the proper as structure and as interplay, an assault on the very
pulse of existence.
Self-destruction indicates the stakes here: the self, the system that ar
ticulates itselffrom within culture. This culture is the culture of the self, of
its appropriation, its concentration-in-itselE And insofar as it involves the
self or the ego, it discovers the principle of evil. There's surely no Western
interpretation of evil that doesn't end up imputing the ego or the egologi
cal as such (including its earliest projection into a Lucifer). No more, how
ever, is there any interpretation of the "good" that doesn't situate it in. tP.e
appropriation of the self-in the autonomy and self-foundation of the free
subject, for example. The ego is both structure (the appropriation of the
self) and destruction (the concentration in the self), just as it is both the
singular and Narcissus, or the partner and the monad.
Everything happens as if destruction were inscribed upon the struc
ture-as its joints and its fissures-precisely to the extent that the str1,1c
ture programs what cannot take place: the infinite appropriation of the self
by itself The certainty of the cogito is, as we know, constitutionally blind.
Kant's "transcendental I" is an empty point..The �go of psychoanalysis suf
fers from a structural lack (or is the structural lack) of the self, a line of fil
iation that leads back to Oedipus's gouged eyes. And filiation itself, the
dominance of the theme of filiation, indicates the blind process of an ego
that pursues itself from generation to generation.
This is why the ego qualifies itself essentially as desire, desire itself be
ing understood as submission to the law of lack (rather than to the law of
a departure from the self). The ego is posed as the frustration or, rather, the
entropy of the ego itself
84 EXISTING
The horizon of destruction: the suppression of exteriority more than

the suppression of time or space, more than the suppression of the body or
of everything contained within it; the absolute concentration in itself, as
much in the' destroyer as in the destroyed. The sovereignty of the destroyer:
destruction reduces the other to a null and void concentration in itself, but
also testifies to the destroyer's own concentration, to the absolute character
of the destroyer's own gathering-in-itself, beyond which there is no other
power or decision.
What the destroyer fails to 'see, however, is the connection between
the two concentrations. The following propositions, as much as the pre
ceding ones, are true: the self's own sovereignty is null, and the annihila
tion of the other reveals in this other an unattainable sovereignty. Because
absolute presence-to-self is without space and time, it is, in its detachment
and entrenchment, its own cancellation.
It isn't a "strong me" that destroys; it is a me that lacks a self
As such, it constitutes itself as the subject of technology, that is, of an
operation of infinite mastery in which infinity takes the place of sover
eignty. Technology has made possible the modern apocalypse-the mod
ern revelation-of destruction. Not, however, as tends to be thought, be
cause it has furnished the means for this. On the contrary, it has'furnished
the end, doing so under the auspices of the in(de)finite appropriation that
characterizes technology (characterizes what is without work, what exceeds
work [le sans-teuvre, lau-dela de I'teuvreD. By itself, technology provides no
end; on the contrary, it is the resolute infinitization, the incessant dis
placement of ends. At the same time, however, it i� in the infinite dis
placement of the end that the Western subject has ended up recognizing it
self and wanting to appropriate itself Our problem is not technology but
the desubjectivization of technology.
Technology isn't destructive, since what is un-working isn't devasta
tion. Yet destruction is technology; that is, it is endless, like the appropria
tion of which it functions as inversion or despair (Schelling's "inverted
God"). It is endless because it is normalized by the absolute End, the end
less Finitization, the null point of the Ego in its imploded identification.
As for technology, it is endless because it is infinitelyfinite. Across all .
its works, its un-working isn't regulated by any particular End. Or, some
what better (and I am indebted to Philippe Lacoue-Labarthe on this
point), it has from this point on the singular figure of a finitization-itself
infinite, unfinishable-of destruction: the figu�e of nuclear menace!deter-
rent. (It wasn't a coincidence that nuclear weapons were-in fact or as a

pretext-at the heart of the GulfWar; destruction presented in such a way
as to maintain control over final destruction. The same sort of control is at
work in the transformation of the ex-Soviet Union and in a certain seg
ment of North-South relations-which have thus become simply North
North relations more than anything else.)
So infinite nuclear finitization finishes-or completely finishes
off-humanity, indeed, all living things; it is, if you like, the destruction
of destruction. No doubt it'll be neither of these things. But the alterna
tive indicates the magnitude of the stakes. In terms of the ego, the two
things are identical: there is no longer anyone-or, more accurately, there
are no longer any distinct one.s:-who is confronted, but a mass or an idyl
lic vision.
In each case, something indestructible is left behind: destruction it
self or the world. Ultimately, though, it is the world that is left, because de
struction takes place in the world and not vice versa. (That in which or
that through which the world takes place is neither riothing nor destruc
tion nor construction.) The world, then-at least if it makes any sense to
think of a "world" without a subject.
Yet this regulating fiction touches on the very limit of what is at
stake: the pure being of a world or of "something" in general. The pure
there is as the indestructible, the gift that cannot be refused (since it has no
one to give it), of a space without a subject to arrange it, to distribute it� to
give it sense. A there is that would be neither for us nor because of us. Either
that or the "sensible" world outside the "sense" given to it by a sentient
subject: the very thing that philosophy has· never been able' to think, still
less to touch, even though it has doubtless always been obsessed with or
haunted by it.
All potential destruction runs up againsi: this limit. We can't destroy
the world any more than we can destroy what has to be called being: the
foctthat "there is" something, without this being either for us or because of .
us. Something in general, and us, too, therefore. Something that neither
has its origin nor its end in man, and· certainly not in the ego.
Granted, it'� little comfort knowing that being is indestructible if this
knowledge is only gained on the verge of our destruction, if there is no one
to know it. In truth, though, we already know this, here and now. "Being"
or the "there is" or "existence" is, in us, what happens before us and ahead
of us, arising from the very step beyond us. It is the incommensurable that
86 EXISTING
measures US. The indestructible measures each one of our destructions,

their impotence. Existence resists. None ofwhich either prevents destruc
tion or justifies it; rather, it marks its absolute limit.
In this sense, then, existence is indestructible, sovereign. This sover
eignty, however, is precisely nothing (indiscernible, in fact, from the fold or
the interplay of the structure, from the spacing that articulates it). Or,
rather, it is nothing; the res, the thing itself, is nothing, no actual thing; it
is reality itself. Destruction, then, is unreal or nonrealizing. Reality is what
confronts us when we are confronted with nothing, that is, with the absence of
possibilities ofappropriation, ofidentification, ofsignification. Yet we are con
fronted by this absence insofar as it has all the stability and all the resistance of
the worldly "there is, something that not only resists in "us" but perhaps
"
also resists us.

The peculiar stability and resistance of all these ruined edifices, vil
lages, peoples, and countries continually awaken our terror, our pity, 'Out
rebellion-those who are forgotten are remembered. This awakening and
this oblivion, however, still indicate the destructive "nothing" of reality,
the intimate exhaustion by which we are in the world, and the sense of this
existence.
Again, this doesn't deliver us from destruction; it neither ends nor
justifies it. On the contrary, we need to learn to" stop dreaming of the end,
to stop justifying it. That is to say, we need to take our leave of the his
torico-romantic mode of thinking that promises ,an apotheosis or an apoc
alypse-or both, one in the other-as well as th� baroque mode of think
ing that engendered destruction in the numerous shards of a shimmering,
whirling universe. Each of these modes has its brilliant, joyous version and
its somber, melancholy version. In each case, though, we try to conceal and
make off with destruction, to carry it away to the point of overcoming or
disaster. We don't stop with what resists us, or with what resists that. .
The symbol and the paradigm of everything that is dedicated to de
struction is the "temple." The temple is the structure that connects human
. places to the totality of the world by cutting the space of this union into
this world. (The templum was originally the space carved into the sky by
the soothsayer's staff.) The temple is the site of con':'templation, the atten
tive gaze supported by this space, open to its spacing. We, we other West
erners, no longer have any temples; perhaps the time of the end of temples
is upon the earth as a whole. And yet, as Plutarch writes, "the world is a
temple."
Today, however, can this phrase have a sense that is neither meta
physical nor metaphoric? A sense that is our own? Either way, it cannot re
spond to what Nietzsche believed still needed to be said: "In order to build
a sanctuary, a sanctuary has to be destroyed." Indeed, on the one hand, it
is no longer a matter of sanctuary (the word itself has become rather passe
in the vocabulary of nuclear war) and so no longer a matter of destroying
something in order to make room for something else; instead, it is a mat
ter of bringing the ternplum to the spacing of being. On the other hand,
though, it is no longer a matter of "building," since one doesn't build a
world; rather, one arrives there, dwells in it, departs from it. Instead, there
fore, it would be a matter of allowing ourselves to contemplate the world,
the spacing of its there is.
Not the restoration of a temple, therefore, but the consideration of
worldly places as places of eXisting. Far from being a matter of restoration,
this is revolution, properly speaking. And yet, insofar as revolution is taken
to mean "revolutionary destruction," it's also a matter of revolution against
destruction. Revolution as resistance, as the necessity and impatience of
existence; revolution as having suddenly arisen, here and now, opening his.,
tory, allowing places to "take place," as it were. Bur this isn't simply a rev
olution; it is permanent revolution, the possibility, at every moment, of
opening space (and I'm thinking here of Michelet's remark that the open
space of the Champs de Mars was the sole "monument" to the revolution).
The history of the West has revolved around four figures of the
temple:
I. The Greek temple, the source of the nascent West's contemplation
and thus what is doomed both to ruinous destruction: and to artistic
metamorphosis.
2. The Jewish temple-twice destroyed, then taken up in terms ofits
destruction, as the meaning of its own destruction and of the diaspora of
those united by no determinate sense.
3 . The Christian temple, the temple of infinite construction, the mas
tery of the spire and the dome, where technology contemplates itself.
4. The Islamic temple, whose heart, the black rock of Kaaba, is, far
from a reserved space, an impenetrable, indestructible thing.
The sort of knowledge that we need-the sort of knowledge that we
lack'-:'is the fourfold knowledge of art and technology, of disseminated
sense and indestructible nothing.
This fourfold knowledge would be a structural one-a knowledge of
.,
88 EXISTING
this entire fourfold structure and of the way in which it arranges a fourfold
space: the Mediterranean, Europe, the West, the Earth, and a fourfold
time: the "Pre-history" of the East, History itself, Decline, and the Present.
This knowledge happens, though, as not-knowing, which is neither igno
rance nor confusioit, but is certainly no longer mastery. It is sovereign
knowledge-that is, nothing, knowledge as existence.
"The world is a temple": in fact, the world is the only temple there is
if there are no longer any temples, if structure has itself deconstructed tem
ples. The world is the only carved space that remains. And what allows it
to be contemplated as such is nothing-nothing but its existence, our ex
istence, the fact that it is, appearing, disappearing.
None of this, though, is accessible to the ego. Indeed, it is always
from out ofthis that the ego emerges in order to contemplate blindly the
desert of what it has destroyed. Whoever would contemplate the world
would, .in truth, contemplate .the effacement of the ego.
Let me echo the ancient words of a Muslim reviled for having wanted
to unite, from East to West, the separate modes of contemplation: "There
is, between you and I, a 'this is me' that torments me. Ah! Take away the
'this is me' that separates US!"3
These words and the voice that utters them bespeak the dimension of
the world. But there is no one voice, since any such voice would no longer
be singular. Nor can the ego and destruction be effaced in a communal in
vocation. What we need are voices that are singular, distinct, and that do
not properly understand one another, voices that call to one another, that
provoke one another.
Translated by James Gilbert-Walsh
DIFFERENCE
5
Elliptical Sense
For Kant, a pleasure that we no longer perceive is at the origin of

thought. This is why thought is "originally impassioned," as Derrida puts
it in "Ellipsis." The trace of this pleasure might be found in all philosophy.
It is the pleasure of the origin itself: the satisfaction or joy of discovering
the source, getting to the center or ground. More exactly: the satisfaction
or joy which the origin experiences in finding and touching itself, the joy
of originating from itself in itself
This is also, properly speaking, the act of thought that Kant calls
transcendentak reason discovering itself, making itself available as the prin
ciple of its own possibilities. We shall have more to say about the tran
scendental. But for the moment let us say that "Ellipsis," in writing on the
origin and on writing as the "passion of the origin," adopts a transcenden
tal standpoint. Or at least it seems to adopt such a standpoint.
From this position is derived the condition of possibility which is not
itself the origin (and this ellipsis or eclipse of the origin in the ' Kantian
"condition of possibility" is undoubtedly what sets off the whole of mod
ern thought), but which forms, on the contrary, the condition of possibil
ity of the origin itself This is our history since Kant: the origin is no longer
given-likewise, its pleasure is no longer given-but becomes instead that
toward which reason regresses, or that toward which it advances, up to the
very limits of its possibilities. The origin enters what Derrida will call its
, "
92 D IFFERENCE
difforance. The origin differs or defers, differs from itself or defers itself.
And that is its joy or passion: a corps perdu.
The origin, or sense, if the origin is by definition the origin of sense,
contains within itself (and/or differing) the sense of the origin, its own
sense, itself being the very sense and site of sense. Nothing less than sense
itself, "all sense," as is written in "Ellipsis." (This is the only occurrence of
the word "sense" in Derrida's text. In one fell swoop, for the entire text and
its ellipsis, all sense. The slightest text of thought can expose no less.)
The condition of possibility of the origin (of sense) is called writing.
Writing isn't the vehicle or medium of sense; were this so, it wouldn't be its
condition of possibility, but the condition of its transmission. Here, "writ
ing" doesn't refer to Derrida's writing, which communicates to us the sense
and the logic of a certain discourse on the origin, sense, and writing (at
least insofar as this sense and this logic are communicable). This writing is
not that of the book which this text concludes and closes (which is entitled
Writing and Difference). Or rather, the writing of the origin is this writing
itself, and this book itself there is no other, there is nothing more to read
once the book has been closed, there are not two writings, one empirical
and one transcendental. There is a single "transcendental experience" of
"writing." But this experience attests precisely to its non-self-identity. In
other words, it is the experience of what cannot be experienced. Writing is
difforance. ,
Thus writing is said to be the "passion of and for the origin." This
passion does not arise at the origin: it is and makes the origin itself The
origin is a passion, the passion of the self in its difference, and it is that
which makes sense, allsense; All sense is always passion, in all the senses of
the word "sense." (Hegel, building on Kant, was well aware of this:
sense-the sense of being-is also the sense of sensibility. For Hegel, this
was the crux and the passion of the aesthetic in general, and hence also of
writing in its relation to philosophy, in the sense of its relation to philoso
phy.) What makes sense about sense, what makes it originate, is that it
senses itself making sense. (To sense the sense or to touch the being-sense
of sense, even if it were to be senseless-that's Derrida's passion. To touch
the body of sense. To incorporate sense. Scratching, cutting, branding.
Putting to the test of sense. I shall write about nothing else.) Sense isn't a
matter of something having or making sense (the world, existence, or this
discourse of Derrida's). It's rather the fact that sense apprehends itself,
grasps itself as sense. .
Elliptical Sense 93
This means that sense, essentially, has to repeat itself: not by being
stated or given twice in identical fashion, as is the case with the "reissuing
of a book," but by opening in itself (as itself) the possibility of relating to
itself in the "referral of one sign to another." It is in just such a referral that
sense is recognized or grasped as sense. Sense is the duplication of the ori
gin and the relation that IS opened, in the origin, betWeen the origin and
the end, and the pleasure, for the origin, of enjoying that which it origi
nates (that of which it is the origin and the fact that it originates) .
Such is the passion, the whole passion of writing: sense, in order to
be or to make sense, has to repeat itself, which is to say, in the original sense
of this word, it must make repeated demands on itself Sense is not given; it
is the demand that it be given. (This implies a giving of the demand, but
that is precisely what, in Kantian terms, ought to be termed the "transcen
dental" and not, of course, the transcendent, which would be the pure
presence of sense, "neither demanded nor capable of being demanded.)
Sense must interrogate itself anew (though it is in this "anew" that every
thing begins; the origin is not the new, but the "anew") ; it must make de
mands on itself, call to itself, ask itself, implore itself, want itself, desire it
self, seduce itself as sense. Writing is nothing other than this demand,
renewed and modified without end. Sense calls for more sense, just as, for
Valery, "it is the sense which calls for more form" in poetry. And, in effect,
it comes down to the same thing. All poetry, and all of Derrida's philoso
phy, meets this demand. Consequently there is something missing in sense,
something missin"g from the start. And "all sense is altered or exhausted by
this lack.� Writing is the outline of this alteration. " Hence, this outline is
"in essence elliptical," because it does not come back full circle to the same.
Ellipsis: the other in the return to the self, the geometral of the pas of
meaning, singular and plural.
Strictly speaking, however, nothing is altered. It's not as if there's a
"
first sense that would then be diverted and disturbed by a second writing,
doomed to lament its infinite loss or painfully to await its infinite recon
stitution. '�l sense is altered [tout le sens est altere1 ." Which means, first of
all, that sense is thirsty [altere as the opposite of desaltere, "refreshed"] . It
thirsts after itself and its own lack; that is its passion. (And it is also Der
rida's passion for language; in the word altere as he employs it here, an el
lipsis of sense makes sense, the alteration and the excess of sense.) Sense
thirsts after its" own ellipsis, for its originary trope, for that which hides it,
eludes it, and passes it by in silence. Ellipsis: the step/pas of sense passing
94 DIFFERENCE
beneath sense. What is passed over in silence, in all sense, is the sense of
sense. But there is nothing negative in tI1is, nor, in truth, anything silent.
For nothing is lost, nor anything silenced. Everything is said, and, like
every philosophical text (every text in general?), this text says everything
about the origin, says the whole origin, and presents itself as the knowledge
of the origin. ("Here" is its first word, and later on we read "we now
know.") Everything is said here and now, all sense is offered on the surface
of this writing. No thinking thinks more economically, and less passion
ately, than in thinking everything, all at once. No pleasure of thinking can
enjoy in a lesser degree than absolute enjoyment. Thus this text pronounces
itself, or the orbit that carries it, to be nothing less than a "system," the sys
tem in which the origin itself "is only a function and a locus."
Writing is the passion of this system. Broadly speaking, a system is
the conjunction that holds articulated parts together. More strictly, in the
philosophical tradition, it is the juncture, the conjoining of the organs of
the living being, its life or Life itself(this life which, according to Hegel, is
most profoundly characterized by sense, insofar as it senses and senses itself
sensing). The adjoining or conjoining of writing is the "binding joint" of
the book, or its life. The life of the book is played out-.is "in play" and "at
stake"-not in the closed book, but in the open book "between the two
hands which hold the book," this book by Jabes that Derrida holds open
and reads for us. Jabes, who writes nothing but a continuation of the book,
and on the book; this book of Derrida's which he writes to us and gives us
to read and to hold in the ellipse of our hands.
The maintenant, the now, of sense articulates itself, repeats itself and
puts itself in play in the mains tenant, the hands holding the book. These
mains tenant multiply the now (the maintenant), dividing presence, eliding
it and making it plutal. These are "our hands": it is no longer an I that is
being uttered, but the uttering and articulation of a we. This juncture goes
beyond the adjoining of a living being that reads. It prolongs and exceeds
him. It is not someone living who reads, even if it is not someone dead.
(And the book itself is neither alive nor dead.) What now holds or takes the
book in hand is a system whose systematicity differs from and defers itself
"The dijferance in the now of writing" is itself the "system" of writing,
within which the origin is inscribed merely as a "place."
Dijferance is nothing other than the infinite re-petition of sense,
which consists neither in its duplication nor in its infinite distancing from
itself Rather, dijferance is the access of sense to sense in its own demand,
, ... :.
Elliptical Sense 95
an access that does not accede, this exposed finitude beyond which, now
.
that "God is dead," there is nothing to think.
If sense were simply given, if access to it were not deferred, if sense
did not demand sense (if it demanded nothing), sense would have no more
sen,seO than water within water, stone within stone, or the dosed book in a
book that has never been opened. But the book is open, in our hands. Dif
ftrance can never, be conceptualized, but it can be written. Difforance is the
demand, the call, the request, the seduction, the imprecation, the impera
tive, the supplication, the jubilation of writing. Difforance is passion.
With a blow-because it is a blow, struck by the origin against the

origin itself-"the joint is a brisure ["hinge"]." The system then really is a
system, but a system of brisure. This is not the negation of system, but sys
tem itself, suspended at the point of its systasis. Brisure does not break the
joint: in repetition "nothing has budged." Or else, the joint has always al
ready been broken in itself, as such and in sum by itself What joins di
vides; what adjoins is divided. Brisure is not the other of juncture, it is its
heart, i.ts essence, and its passion. It is the exact and infinitely discrete limit
upon which the joint articulates itself The book between our hands and
the folding in of the book upon itself The heart of the heart is always a
beating, and the essence of essence consists in the withdrawal of its own
existence.
It is this limit that passion demands, this that it �raves. The limit of
what, in order to be itself and to be present to itself, does not come back to
itself The circle which at once doses itself off and fails to do so: an ellipsis.
Sense which does not come backto itselfis elliptical. Sense which, as
sense, does not close off its own sense, or closes it off only by repeating and
differing from itself, appealing again and again to its limit as to its essence
and its truth. Returning to itself, to this passion.
To appeal to the limit is not to set out to conquer a territory. It is not
to lay claim to boundaries or borders, for when borders are appropriated,
there is no longer any limit. Yet to demand the limit as such is to demand
what cannot be appropriated. It is to demand nothing, an infinite exposi
tion which takes place at the limit, the abandonment to this space without
space that is the limit itself This space has no limits,- and is thus infinite,
though this does not mean that it is an infinite space, any more than that
it is "finite." Rather, it is, not "finished," but the end, or finitude.itself.
. Thought of the origin: of the end: of the end·of origin. An end that
initiates a cut into the origin itself: writing.
96 DIFFERENCE
Such is the last page of the book, the last line of the text-the other
site of the ellipsis, after the hie et nunc of the beginning-which is what the
book, the text, never stops demanding, calling for, soliciting. The ellipsis of
"Ellipsis" closes itself off in dijferance and its own circularity, and in the
play of a recognition which never returns. In the last line Derrida inscribes
the final words of a quotation from Jabes. It is a signature, the signature on
a fragment, a pronouncement that precedes it: "Reb Derissa." All the au
thority, if not all the sense, of the text will have been altered by this move.
It will have been the thirst or the passion for putting into play the 1, the
origin, the author, the subject of this text.
Closing of the text: quotation of the other text, ellipsis. This quota
tion, almost signature. The signature marks the limit of signs. It is their
event, the propriety of their advent, their origin or sign of origin, or origin
itself as a singular sign, which no longer signals anything, which cuts sense
in two. Derrida signs and de-signates himself; his signature is repeatable. It
owes its "sense" entirely to its repetition; it has no signification. Its sense is
repetition, the demand for the singular. Derrida asks for himself, and is al
tered. Singularity is doubled and thirsts after itself insofar as it is the origin
of the text. An exorbitant thirst, the thirst of one who has already drunk,
who has drunk the entire text, the whole of writing, and whose drunken
ness asks for it all over again. Derrida is a drunken rabbi.
The mastermind that ordains the system of the text bestows his own
name on a double (itself unreal; the text has not neglected to remind us
that Jabes's rabbis are "imaginary"). The double substitutes a double "s '�
that "disseminating letter," Derrida writes later-for the "d "in the "da" of
"Derrida." An elsewhere in the guise of a here, a fictitious being in the guise
of Dasein, or existence. Derissa-- slim, razor-sharp, derisory-touches the
limits of a narrie and a body "with an animal-like, quick, silent, smooth,
brilliant, slippery motion, in the manne� of a serpent or a fish," as the text
says of a book that insinuates itself "into the dangerous hole" of the center,
filling it in.
Fills it to bursting with pleasure: because it's a game, yes, it's a laugh.
Estos de risa: this makes us laugh. Here laughter breaks out-laughter is
never anything but explosive; it never closes up again-the laughter of an
ellipsis opened like a mouth around its paired foci: Derrida, Derissa.
Mocking laughter. But mocks or mimics what? Nothing; merely its break
ing out. The origin laughs. There is such a thing as transcendental laugh
ter-and several times the text has evoked a certain "joy" of writing . . .
- --- -"-- -- - � . --- --
.: ...: . • :_ •..,.•..:.....'k • • .,'" � ... _,...... .:.:� . �:. �� ':.'_:�';" "
.
• ".�••,� _ "
Elliptical Sense 97
What would a transcendental laughter be? Certainly not an inversion

of the significance or value ascribed to seriousness and necessarily de
manded by thinking. This laughter doesn't laugh at seriousness, but laughs
at the limit of the serious-of sense. It is the knowledge of a condition of
possibility which doesn't tell us anything. This isn't exactly comedy: neither
nonsense nor irony. This laughter doesn't laugh at anything. It laughs at
nothing, for nothing, for a nothing. It signifies nothing, but it is not ab
surd. It laughs to be the explosion of its own laughter. It laughs derridaly,
derrissally. This is not to say that it isn't serious, nor that it is untouched by
sorrow. Rissa, rrida: it is beyond any opposition between the serious and
the nonserious, between pain and pleasure. Or rather, it is at the juncture
where these oppositions meet, the limit they share, a limit that is itself no
more than the limit of each of these terms, the limit of their significations,
the limit at which these significations, as such, are exposed. We could say,
in other words, that such a limit-a limit ofthis type, Derrida might say
where pain and pleasure share the joy [of their encounter], is the site of the
sublime. I prefer to say, in a less aesthetic language, that this is the place of
exposition. The origin exposes itself: to not being the origin.
There is a joy, a gaiety even, that has always been at the limit of phi
losophy. It is neither comedy, irony, grotesque, nor humor, though it per
haps mixes all these significations togeth�r. But it is also the ellipsis of these
comiques significatifi ("modes of the comic as meaning," to adopt Baude
laire's phrase), evoking the "strange serenity" the text has named. In and by
this serenity, knowledge relieves itself of the weight of knowing, and sense ·
recognizes or feels itself t� be the extreme lightness of a "departure from
the identical" which "weighs nothing in itself," but "thinks and weighs the
book as such." This play on pensee, what is thought, and pesee, what ,is
weighed, this play inscribed in language itself, speaks thinking as measur- .
ing and as test. 1 Here the book, its juncture, is measured, put to the test.
But precisely this, this which indeed says something, and which says
it through the meaningful game of a slippage of the etymon, says nothing
or 'means nothing. It appropriates nothing of the etymon; it doesn't appro
priate an originary propriety of sense. No more than the ellipsis "Der
rida/Derissa" lays claim to any kinship. Thought will not let itself be
weighed, and weight will not let itself be thought, by it: If there is anything
here at all, it is the lightness of laughter, this gossamer, infinite lightness
which laughs at nothing, one must reiterate, but which is the lightening of
sense. No theory of comedy or ofthe joke has been able to master it. Here
98 DI FFERENCE
theory laughs at itself. Derrida will always have laughed, with a laughter . at
once violent and light, a laughter of the origin and of writing.
In lightening itself, sense does not cast off its ballast, \does not un
burden or debauch. itself. Sense lightens itself and laughs, insofar as it is
sense, with all the intensity of its appeal and repeated demand for sense. Its
lightening (which is not a relieving), means having its own limit as a re
source and having the infinity of its own finitude for its sense.
This sense, this sense of "all sense," this totality of sense made up of
its own alteration, this totality whose being-total consists in not allowing it
self to be totalized (but in being totally exposed) is always too hastily trans
lated into "wordplay," into an acrobatics or linguistic mischief, in sum, into
meaningless surface noises. Howev�r, one would be equally wrong to seek
to "sublate" these plays on and in language in the manner of Hegel, who
sublates the dialectic itselfin a play on the word "sublate." There is no spirit
of or in language, no origin of words before words, that "living speech"
could bring to presence. Things are infinitely lighter and more serious: lan
guage is alone, and this is just what the word "writing" means. It is what re
mains oflanguage when it has unburdened itself of sense, confided it to the
living yet silent voice from which it will never depart.
"Language is alone'" doesn't means that only this exists, as is naively
and imperturbably believed by those who denounce as "philosophies im
prisoned in language" all thinking which does not offer them-that is to
say, which does not name for them-a ready-sliced "life" and "sense" of the
"concrete. " On the contrary, "1anguage IS ' alone" means that language IS . not
an existence, nor is it existence. But it is its truth. Which is to say that if ex
istence is the sense of being, the being of sense, then language alone marks
it, and marks it as its own limit.
Existence is the "there is [il y a]" of something. The fact that it is
[qu'il y a]-here is the origin and the sense, and in these words "there is"
language bursts into flames, laughs, and dies away. But for the "there is" of
anything whatsoever there is only language, and singularly so for the "there
is" of any "cl:tere is" that transports us, delights us, fills us with anguish, for
the "there is" that is " there, but out there, beyond." That is to say; the truth
of being, existence, the immanence of transcendence-or finitude as what
defies and deconstructs the metaphysical pairing of immanence and tran
scendence. This "there is" is presence itself, experience just at itself, right in
our hands and as of now. But the there of "there is" can't be put "there" or
"beyond," or anywhere else, for that matter, nor in the nearness of some in-
Elliptical Sense 99
ward dimension. "There" "signals" the place where there is no longer any
sign, save for the repetition of the demand, from sign to sign, along all of
meaning, toward the limit where existence is exposed. The there is infi
nitely light, it is juncture and brisure, the lightening of every system and
the ellipsis of every cycle, the slender limit of writing. Here we touch on
presence that is no longer present to itselfbut is repetition and supplication
of a presence to come. (Derrida will say, will write, "Come!" as the imper
ative, imperious, yet impoverished, ellipsis of an entire ontology.) The text .
says: "the future is not a future present." This is because it is to come, to
come from the there and in the there. And that is why "the beyond of the
closure of the book is not something to wait for." It is "there, bur over
there, or beyond," and it is thus to be called for, here and now, to be sum
moned at the limit. The appeal, the repeati:!d demand, the joyous supplica
tion says: "let everything come here." That everything should come here, that
all sense co�e and be altered, here, now, at the point at which I write, at
which I fail to write, at this point where we read: the passion of writing is
impassioned by nothing other than this.
II
In the "there is" of existence and in that which "comes there" to pres
ence, being is at stake, as is the sense or meaning of being. In its two ma
jor philosophical forms, the transcendental has designated something put
in reserve, a withdrawal or a retreat of being. For Aristotle, being is what
keeps itself in reserve over and ' above the multiplicity of the categories
(predicaments or transcendentals) through which it is said in "multiply."
Being offers itself and holds itself back in this multiplicity. For Kant, the
transcendental denotes the substitution of a knowledge of the mere condi
tions ofpossible experience for a knowledge of being that would subtend
this experience. Being offers itself and holds itself back in these conditions,
in a subjectivity which does not apprehend itself as substance, but which
knows itself (and judges itself) as a demand. .
When the question of th,e sense of being was reinscribed in philoso
phy, or at its limit, it was not in order to break through the transcendental,
to transcend it and thus penetrate the reserve of its withdrawal. Rather it
was, with Heidegger, in order to interrogate this withdrawal itself as the
essence and as the sense of being. Being: that which is no part of all that is,
but which is at stake in existence. Such is the "ontico-ontological differ-
100 DIFFERENCE
ence." The difference between being and everything that exists is precisely
that which exposes existence as the putting-at-stake of the sense or mean
ing of being (in and as its finitude).
In these circumstances, the opposition or complementarity between
the transcendental (as the withdrawal of the origin) and the ontological (as
the resource at the origin) loses all pertinence. What becomes necessary is
another kind of ontology altogether, or else a completely different tran
scendental; or, perhaps, nothing of the sort, but an ellipsis of the two. Nei
ther the retirement of being nor its givenness, bur presence itself, being it
self qua being, exposed as a trace or as a tracing, withdrawing presence, but
retracing this withdrawal, presenting the withdrawal as what it most prop
erly is: the nonpresentable. This propriety is nothing other than absolute
propriety itself and the propriety of the absolute. The absolute as the ab
solute of finitude-its separateness from all gathering, from all sublation
in an Infinite-gives itself in the event of the trace, the appropriation of
inappropriable propriety (Ereignis, perhaps).
(Need I emphasize the historical, ethical, and political ramifications
of this turning, of this torsion of the absolute? The question is nothing .
other than the question of the "sense of existence" now that God, along
with the Idea, Spirit, History, and Man, is dead. And, indeed, even before
this question, the whole passion of the sense of existence. From a circular
sense to an elliptical sense: How can we think and live that? At this point,
we should add that decisively, and despite what might be said, philosophy
has not failed. Derrida, and others with him, in the anxiety and collapse of
the age, will have beaten the path, a path that must always be beaten
afresh, in the quest for the sense of existence.)
The thought of writing (the thought of the letter of sense, rather
than of the sense of the letter: the end of hermeneutics, the opening and
initiation of sense) reinscribes the question of the sense of being. Ellipsis of
being and the letter. What happens with this reinscription? What happens
when we discern at the origin, as "Ellipsis" does, a "being-written" and a
"being-inscribed"? There is no question of giving a complete answer here.
What "happens" there has not finished happening, Derrida has not fin
ished making, transforming his own response. And undoubtedly the "re
sponse" comes in the very movement ofwriting, which we are bound to re
peat, writing "on" him, but also writing on "us."
What we can perhaps say here, however, is this: that in the ellipsis of
being and the letter, in the dijferance of the sense of being, 'being no longer
Elliptical Sense 101
simply withdraws into its difference from what exists, or into the gap of
that difference. If the ontico-ontological difference was once taken to be .
central (but was it in Heidegger himself? and if so, to what extent?), if it

ever constituted a system centered on the juncture of Being, and of a Being
established in its own difference, it can do so no longer. Difference (of be
ing) is itself diff�rant. It withdraws still further from itself, and from there
still calls itself forth. It is withdrawn further than any assignation to a "dif
ference of being" (or in a "different being," or in any Other) could ever re
move it, and it is altogether yet to come, more so than any annunciation
could say. Later, Derrida will write that "within the decisive concept of the
ontico-ontological difference, everything is not to be thought in one stroke."2
More than one trait or ductus (to adopt a paleographic term designating
each of the lines used to trace a single letter, suggested to m"e by Ginevra
Bompiani): this means at once the multiplication and the ductility of the
trait, its fracturing at its juncture and also, as the condition of these events,
the effacing of the trait: less than a single trait, its dissolution in its own
ductility. This signifies the ductus of difference, in difference and as the "in
side" of a difference that has no interiority (it is the withdrawal of the in
heritance of being to what exists). An inside which arrives to the outside.
The sense of the ontico-ontological difference lies not in its being this
difference, nor in its being such and such, but in the fact that it is to come,
to arrive, an sich ereignen [to emerge in the proper-ness of its event], still to
appropriate its inappropriable, its incommensurability. Being is nothing
outside of or before its "own' folding of existence: the folding of the book
in our hands, as we hold it. The fold multiplies the traits and opens the
book to writing. The only difference is in a coming equal to the infinite
withdrawal that it traces and effaces at one and the same time. It is "there,
but out there, or beyond"
As altered sense, existence demands, calls for, intimates there its "be
yond." Elliptical sense, existence surpassing its sense, withdrawing and ex
ceeding it.
That's what writing is, he says.
Perhaps we should also say that, by definition, there's nothing beyond

being (and its fold), and that this marks an absolute limit. But an absolute
limit is a limit with no outside, a frontier without a foreign country, an
edge without an external side. This is no longer a limit, therefore, or it is
the limit of nothing. Such a limit would also be an expansion without lim-
102 DIFFERENCE
, its, but the expansion of nothing into nothing, if being itself is nothing.
Such is the infinity proper to finitude. This expansion is a hollowing-out
without limits, and this excavation is writing, "a void which continues to
excavate itself," as the quotation from Jean Catesson in "Ellipsis" puts it.
Thus the void nullifies itself in itself and brings itself to light. Writ
ing excavates a cavern deeper than any philosophical cave; a bulldozer and
caterpillar for tearing up the whole field: a terrain, a passion for the ma
chine, a mechanical passion, mechanical and machinated. This machine,
marked ] D., excavates to the center and the belly. The belly is the altered
void. The machine carries out an evisceration that is itself hysterical. The
hysteria of writing lies in bringing to light (a light unbearable yet simple),
through a genuine simulacrum of disemboweling and parturition, this
limit of being that no one can stomach. Writing perseveres and exhausts it
self there, a corps perdu.
But writing doesn't 'do anything; rather, it lets itself be done by a
'-
machinery, by a machination which always comes to it from somewhere
beyond itself, from being's passion for being nothing, nothing but its own
difference to come, .and which always comes ihere, there where the be
yond is.
This also means that, as in the question of writing, the question of

sense (of being) is altered as a question in such a way that it can no longer
appear as a question. A question presupposes sense, and aims to bring this
sense to light in its answer. But here sense is presupposed merely as the ap
peal to sense, the senseless sense of the appeal to sense, the ellipsis which fi
nally never closes off anything, but which calls: the "gaping mouth," there,
where the ellipsis itself, and its geometry, are eclipsed
' by a cry. But a silent
cry: nothing but altered sense.
What responds to a call or to an appeal is not a response but an ad
vent, a coming to presence. Ereignis, for Heidegger, names the advent of
presence proper in (and to) its inapprop�iation. "Writing" bespeaks the el
lipsis of the present in this advent itself, this ellipsis of the present by which
the event takes place-taking place with no other place than the displac
ing of "all natural place and center," the spacing of the place itself, of the
"trace," and of "our hands."
Yet writing, at the limit that is its own but where it is not itself,
wouldn't "say" even this. It wouldn't substitute an affirmation to the ques
tion. It wouldn't substitute anything for anything; it would operate no
transformation, re-elaboration, or re-evaluation of discourse. The "system"

of writing is not another discourse "on" sense. It is the movement, the pas
sion, and the impatience which arises with sense, "all sense."
In a sense, an exorbitmt sense-the ellipsis of ellipsis itself-there is
no discourse, no philosophy, and thus no thinking that is Derrida's. This,
at least, would have been his passion: to elide, to eclipse thinking in writ
ing. No longer to think, but to come and to let come. Needless to say, this
doesn't amount to a "project" or to a particular "enterprise of thinking.�'
Yet might we not say that there is a "program" (a trace running always
ahead of itself), the program of an extenuation? One that Derrida carries
out relentlessly?
The sense of being differs-differs (from) its own difference, coming
to be the same as existence and nothing eire-and calling to itself, calling
for itself, and repeating itself as being the "same," right at existence, its dif
ference, always remembering itself in the letter of sense which literally does
not make sense, the rabbi of open b90ks and not of the biblia, all of this
wouldn't be Derrida's discourse, any more than it would be Derissa's or
anyone else's. It would be what comes today, here and now, our history, to all
discoutse, in all discourse, at its fractured juncture, no possibility of this
coming ever being halted-being, on the contrary, what is always coming,
and to come.
What is it to come or to enjoy? What is joy? This is no longer a "ques
tion." It has never been a question for philosophy, whether philosophy has
never wanted to know anything about it, or whether it has always
known-and here Spinoza speaks on behalf of all philosophers-that it is
not a question. But it is precisely about coming, coming to the limit, and
the limit of coming: infinite finitude. .
As for what it comes to and where it comes from, this is discoutse still
less; this is no longer writing-writing is the coming, and its call. But it
is-all the rest, all the sense of all the rest: what we call, and what perhaps
we need to rewrite totally as the world, history, the body, sense, work, tech
nology, th� work of art, voice, community, the city, and passion, passion
yet again.
Let no one come to say, in any event, that this joy beyond question
but not beyond appeal-:-reeks of facile and complacent discoutse. It is
"happiness" that reeks. Happiness succumbed to the killing fields, to gro
cery stores and to crack. The stench is still with us. Its accumulation will
explode, of course. Joy, the sense of existence, is the infinite but irrefutable,
irrecusable demand:
104 DIFFERENCE
In
Let's go back; let's repeat the text again, i:eturning to the other end of
the ellipse, and take up the altered ring at its beginning, insofar as a ring
has a beginning.
"Here or there we have discerned writing": everything is there, in one
fell swoop, in this lapidary incipit whose affirmation or affirmativity rests
on a discreet prosody. (And here, we ought to re-read this sentence with its
proper scansion.) Everything is there in a passion of language which has
overcharged with sense this simple sentence, otherwise so anodyne; which
has saturated with resonances this very brief monody, to the point that
somewhere, in some obscure place, it alters itself, fissures, and noiselessly
gives in. Derrida has always had a devouring thirst for language, and has al
ways striven passionately to make it do his will.
"Here or there": the first words of the text effect a mise en abtme, both
of this text itself and of the book it closes. What has been done (the dis
cerning of writing) has been done right here, and so it is right here: in a
present already past, jl:1st started up. When did we begin to read?-When did
he start writing? It is done; a discovery has taken place; a principle has been
laid down-this incipit is a conc.:lusion, the systematic conclusion of the
book---.:but it is here, under our very eyes, between our hands, and it never
ceases to be at stake, still and most especially when it is written "here." It
is not a "present perfect," but the passage of the present of writing (its
present, its gift, which gives nothing without also giving the giver, "on"
whom we are writing); it is the coming into presence of what is not present.
(What comes into presence does not become present.) It does not stop com
ing, and coming at a limit. Presence itself is nothing but limit. And the
limit itself nothing but the unlimited coming to presence-which is also
the unlimited gift, present, of presence, or its offering: for presence is never
given, but always offered or presented, which means offered to our decision
whether or not to receive it.
And the here is immediately redoubled: it is either here or there.
There, the there, will come at the end of the text, and will be redoubled in
turn: "there, but out there, beyond." Here or there: already the two foci of
the text, already the ellipsis. It's all there. Some years later, at the end of an
other text, accompanying once again the form and forgery of his own sig
nature (of the proper sense of the proper name, where all sense is altered in
effect), Derrida will write that he signs "here. Where? There."3 Here re-
moves itself from its own place and there pierces its own place (in per
forming it). Derrida's entire text and oeuvre is altered by perforating and
performing itself. He has, he is, an inextinguishable thirst for a wild and
drunken pursuit of self-externalization of offering himself up where he is
not, of blocking himself from being where he is. He cannot bear himself,
though he is borne only by himsel£ And that sums up the violent, desper
ate, joyous errancy of the sense of the age, of our sense, disseminated in a
great gust coming from beyond the West, just as it is sedimented and
paved over by the thickness, and thus the speechlessness, of our words. All
of Derrida's text is a deaf-mute text.
It is already time to inscribe an ellipsis here-as the title (Derrida's,
and mine in repeating it) has already done. Or, more exactly, one can't do
less, but one must go to the end, the ellipsis of ellipsis.
For Derrida has neglected, by ellipsis, in accordance with the tropo
logical use of the word "ellipsis," which surely he could not have failed to
remember, making explicit the sense of this word. (And so: "Ellipsis" as a
title; the ellipsis of the title. He contrives not to entitle this text any more
than he signs it.) He will. inscribe it in Greek, and elliptically attach to it
the double value of a lack, of a decentering, and of an avoidance. Et·lipsis,
from ek-leipo, I avoid: I avoid-writing what I write. I live off writing, I
leave off writing.
And he will leave out saying (writing) that the ellipsis (as eclipse) has
as its etymon the idea of fault, of the absence of precision or exactitude. The
geometrical ellipsis was initially a generic term for figures that failed to be
identical; before being used (by Apollonius ofPergamon, in his treatise on .
Conics) in the sense familiar to us, as designating what is missing in a cir

cle and doubles the property of the constant radius of the circle into the
constancy of the sum of two distances, which always vary. All of this, · to
gether with an entire structural, historical, rhetorical and literary analysis
of the ellipsis and ellipses, has been subject to an ellipsis.
However, it is not simply a question of the specular play "Ellipsis
upon ellipsis, and in ellipsis." In calliIJ.g itself "Ellipsis" (which is not at all
the same thing as being entitled "On Ellipsis") andin its display of abyssal
speculation, itself simple, infinitely so, the text says, writes, or "ellipses"
(eclipses and reveals) something else entirely. It indicates that something
else is subject to ellipsis, something we cannot.and must not know. It lets
us know that we are really and truly missing something. Lots of things at
once no doubt: for example, the identity between "Derrida" and "Derissa," .
,- . , � .. '
106 DIFFERENCE
or else " this other hand," named, pointed to, and shown to be invisible,
unnameable-and those suspension points that follow it . . . serpent's
hand, or fish's . . . This text says all sorts of sensible things about writing
and about sense, andit says that it has something else tucked away, that it's
telling another story. But also it says that this exhibiting of a secret hides
nothing, that there isn't another story or, at least, that he doesn't know it
himself . . . This text effaces as much as it traces, effaces precisely insofar as
it traces, retracing the effacing and effacing this trace as well . . . Certainly,
we will have missed the sense. It will have changed us. The passion of]. D.
is to alter or to change his reader. What other passion could a piece of writ
ing have?
Once again, and first of all : "here or there." An ellipsis of places, of
two foci, neither ofwhich can center the text or localize the writing that we
have discerned. This double focus, these two fires, two lights, two burnt
patches, are shown to us, then removed from view. What is more, "two" is
more than two; "two" opens onto the multiple. In the "here or there" it is
the suspension, the hesitation, and the beating of the qr that counts. Of
this or [ou] which does not say where [ou] writing is. Nor when, nor how.
"Here or there" is without a definite place, it is also "sometimes, at mo
ments, from time to time," and therefore "by accident, by chance, fortu
itously." Writing can only be made out by accident. Even the calculation of
writing, to which we see Derrida give himself over to here-a calculus that
is meticulous and fierce, with ali the rigor of the geometer (is he also from
. Pergamon, the city of parchment?, this little secre't, scratched here?), a
tenacity ruled by the systematic tracking down ofwhat deregulates and dis
seminates sense-this very calculus (in fact, especially this calculus) is
given over to the vagaries of language. Here or there language might favor
the game or even make the rules. If the circle of sense did link up, the game
would take place everywhere or nowhere: no more play, nothing but sense.
But the game of sense implies the hazardous ellipsis of its rules.
Neither manifest literalness nor mise en abtme, no less manifest,
makes sense of the text. Neither the "whole" nor the "hole" of sense. But
always once more the ellipsis, which is to say: sense itself as ellipsis, as not
moving around a fixed point, but coming endlessly to the limit-here or
there-where signification is eclipsed and a presence only arrives at its
sense: a rabbi, a fish, a piece of parchment, who and what else? This sense
of a presence is the joy, the pleasure and pain of the enjoyment of this pres
ence, exposed before or beyond all presentation and any present of a sig-
ElliptiCal Sense 107
nifiable sense (of a sense present to itself?). This takes place where place
has no signifying privilege, unassuming places indifferent to all presences,
to all the differences between them: a constant sum, here or there.
What by chance takes (has taken) place here is a discerning ("here or

there we have discerned writing"). That is to say, a fine, penetrating in
sight, a perspicacious gaze which has insinuated itself into writing, across
"labyrinth" and "abyss," plunging "into the horizontality of a pure surface,
which itself represents itself from detour to detour" (for where else is writ
ing to be discerned if not here, right at the "grapheme" itself?). In the in
terstices of a "deconstructed" discourse, a piercing theory has seen what
had never been seen before. So far, a classic incipitof the philosophical text.
But to dis-cern, strictly, means to see between [to glimpse, entrevoir] , it is
barely to see, .or to guess, in an ellipsis of the eye. Theorein has been re
duced here to an extenuation, to a vestige in the half-light-to a twilight
vision, not one of daytime.
"We have discerned": we have divided off with a cerne, which in
French is the contour and particularly the ring of fatigue around tired eyes;
thus we have divided off from two cernes, tracing the contour and the di
vision, the division as contour. (The sentence that follows in the text will
"sketch" this "dividing line"-and that "dividing line" will divide and share
of itself; separation and communication, exchange and isolation.) We have
retraced the limit of writing, writing as limit. We have written writing: it
can't be seen, or barely; it writes itself; it traces itself and effaces itself under
the very eyes of anyone who would try to look. It sets its course by groping
along its traces. But its effacement is its repetition: it is its demand and its
calling forth; it is "all the sense" that traverses it, always coming from else
where, and nowhere, offering itself to us as it takes us away from ourselves.
But who, "we"? This we which has, or have, discerned writing is both
the modest authorial "we" and the royal "we" of the philosopher. But.it is
also ours: the we of a community in its history. "We" voices the historiality
of the discerning of writing. This discerning is as recent as the outline, in
modernity (let us say from Benjamin and Bataille to Blanchot), of a certain
title or graph of writing whose philosophical inscription Derrida has as
sumed and assured (in other words: where he invents "literature"). Andyet
this discerning is as ancient as the first philosophical inscription. Later,
Derrida will retrace the separation of book and text back to Plato: ellipsis
of the West.
108 DIFFERENCE
Here we ai:e at this limit: the waning [accident] of sense, the disten
sion ofits foci, frees up the task of thinking (though in what sense is it still
"thinking"?) the sense of our finite existences.
Transcendental experience is right here. There is, in effect, nothing in
this incipit that does not bear the stamp of the empirical: the randomness
of place and moment, the simple facticity of discerning. The incipit gives
the origin and the principle of the system in the register of the empirical.
Here's what happened, it's happened to' us. It not only opens up discourse
to writing; but it already breaches it ("breach" will be the penultimate
word of the book). It opens up an irrepressible empiricity, in writing it, in
offering as a narrative what is, by rights, an exposition more geometrico, but
elliptically so. Thus the transcendental experience of writing is not
Husserl's "transcendental experience." Husserl's was meant to be pure ex
perience, the reduction and purification of the empirical. Here, by con- .
trast, experience is impure-and this is why, undoubtedly, the concept of
"experience" is itself inappropriate, at least insofar as it presupposes some
sort of experimental setup, as is the concept of the transcendental (which
always lays claim to an a priori purity as condition of possibility).
Instead it is a question here of putting together what befalls us, in the
non-purity of the event and the accident, the historical passage in which all
sense of History is changed: wars and genocides, collapses of representa
tion, the erosion of politics by global technology, the drifting of "un
chained peninsulas."
In that case, experience should be expressed or thought as "wander
ing," as "adventure," and as the "dance" named in the text-in short, as
passion itself: the passion of sense. What would pass as a "condition of pos
sibility" here (but also an "ontology") would be on the order of passion.
But passion is always destined to the impossible. It does not transfom it
into the possible, does not master it; rather, it is dedicated and exposed to
it, passive at the limit where the impossible comes, which is to say, where
everything comes, all sense, and where the impossible is reached as the
limit.
The impossibie is the' center, the origin, and the sense. Ellipsis is the
ellipsis of the center, its lack, its failing, and the presentation of the "dan
gerous hole" into which the "anxious desire of the book" seeks to "have in
sinuated itselE" But when it insinuates itself there it discovers or discerns
that it has plunged into nothing other than the "horizontality of a pure
surface." The circle gapes; the ellipsis surfaces. Touching the center, one
touches writing. All sense is altered-but what glides across the surface
(brilliant, slippery fish . . . ) and what plunges into the hole (tightly rolled ·
parchment), would these not be the same? The same which alters, and all
sense, once again, without end? And is it the same passion to touch the
center and to touch writing? Is it the same machine which digs, fills in, and
traces anew?
IV
Undoubtedly it is the same machine: has th�re ever been more than
one passion-more than one anguish, more than one joy, even if this unic
ity is in essence plural? The passion for the center, for touching the center,
and for the touching of the center has always been J. D:s passion-the
passion of philosophy as the passion ofwriting. The one and the other, ac
cording to the two senses of the genitive, and one in the other, and one for
the other. Both completed, raised up, or cast into the depths by the passion '
for touching language, as he will have repeated. To touch language: to .
touch the trace, and to touch its effacement. To touch what moves and vi
brates in the "open mouth, the hidden center, the elliptical return." To
touch the ellipsis itself-and to touch ellipsis inasmuch as it touches, as an
orbit touches the edges of a system, whether cosmological or ocular. A
strange, orbital touch: touching .the eye, the tongue, language, and the
world. At the center, and in the belly.
It is the same passion: to discern is to see and to trace; it is to se� or to
trace at the point where the rings around the eyes touch-between the
eyes. Discerning is where touching and vision touch. It is the limit of vi
sion-and the limit of touch. To discej:n is to see what differs in touching.
To the see the center differing (from itself): the ellipsis. There is a certain
narrowing in all discerning: sight narrows to the extreme, and becomes
sharper and more strangled. It always has its two hands clenched around
the book.
It is the system, again. It is the will to system. (But what is will? Who
. knows, or th·inks he knows? Doesn't will differ in its essence?) It is the will
to touch: the wish that the hands touch, across the book, and through the
book; that its hands touch, reaching just as far as its skin, its parchment;
that our hands touch, always through the intermediary of skin, but touch
nonetheless. To touch oneself, to be touched right at oneself, outside one
self, without anything being appropriated. That is writing, love, and sense.
lIO DIFFERENCE
Sense is touching. The "transcendental" of sense (or what is "onto

logical" in it) is touch: obscure, impure, untouchable touch, "with an ani
mal-like, quick, silent, smooth, brilliant, sliding motion, in the fashion of
a serpent or a fish," even more than hands, the surface of the skin. The skin
repeats itself, here ·or there. The text says nothing of this: it will have ef
fected an ellipsis of the skin. But that is why there is no skin as such. It is
missing and always being undone, and this is how it covers up, unveils,
and offers.
Always an undoing of sense, always an ellipsis in which sense
emerges. It is the passion after a skin to write on. He writes endlessly on his
own skin, hand to hand, a corps perdu. (This means that whoever writes
"on" Derrida is no different from Derrida writing "on" sense and "on" writ
ing, or from anyone who writes on anything at all. We always write "on"
someone, on some singularity of the skin, on a surface scratched and tat
tooed yet smooth and slippery, on a piece of parchment, on a voice. An
epidermic writing, mimicking the movements, contortions, and alterations
of a skin of sense stretched tight and perforated, intact and enacted, mim
ing a writing which imitates nothing, no sense having been given to it.
One always writes as if overcome by a sovereign, sublime Mimesis of
Sense, and by its inimitable Style; in writing one is always mimicking the
gestures and dances of this senseless model, a corps perdu.)
This corps perdu, this lost body-Derrida found it one day written in
French in Hegel. (See the beginning of Margins.) It is the passion of writ
ing. Writing can do nothing but lose its body. .As soon as writing touches
the body, writing loses touch itself. Writing has only to trace it or efface it.
But the body is not lost in the simple exteriority of a "physical" or "con
crete" presence. Rather, it is lost to all material or spiritual modalities of a
presence full of sense, charged with sense. And if writing loses the body,
loses its own body a corps perdu, this occurs to the extent to which it in
scribes its presence beyond all recognized modalities of presence. To in
scribe presence is not to (re)present it or to signify it, but to let come to
one and over one what merely presents itself at the limit where inscription
itself withdraws (or ex-scribes itself, writes itself outside itself).
, Derrida-underr .
the name "Derrida" or some alteration of this
name-will not have stopped inscribing the presence of this lost body. He
is not trying to make some new power arise through language, t<;> erect any
system or nonsystem of some new disposition of sense. On the contrary, he • � I
has always played-on stage and at stake-the body lost at the limit of all
language, the foreign body, which is the body of our foreignness.
Elliptical Sense III
That is why this body is lost in the very discourse of writing and the
deconstruction of metaphysics, insofar as that is a discourse (a philosophy
or even a thinking) . The expt':rience named "writing" is this violent ex
haustion of the discourse in which "all sense" is altered, not into another or
the other sense, but in this exscribed body, this flesh which is the whole re
source and plenitude 'of sense, even though it is neither its origin nor its
end, yet still place and the ellipsis of place.
This body is material and singular-it is also the very body of
Jacques Derrida-but it is material in a singular way: one cannot designate
it qr present it as a " [subject] matter." It is presentwith that presence of the
unavoidable withdrawal of writing, where it can be nothing but its own el
lipsis, there, out there, and beyond.
There, out there, beyond "Derrida" himself, but nonetheless here, on
his body and his text, philosophy will have moved, materially, and our his
tory will have moved. It will have inscribed/exscribed something which has
nothing to do with any of the possible transformations of ontology or of
the transcendental (even if the discourse frequently proves susceptible to
being brought back to such transformative operations). Philosophy will
have moved with a movement discreet, powerful, and trembling: the
movement of a lost body presented at the limit of language. This body is
made of flesh, of gestures, forces, blows, passions, techniques, powers, and
drives; it is dynamic, energetic, economic, political, sensuous, aesthetic
but it is· none of these meanings as such. It is the presence which has no
sense, but which is sense, its ellipsis and its advent.
Derrida "himself"-or his ellipsis-is a wild singularity of this body,
crazy for it, crazy with its presence, crazy with laughter and anguish at the
always-retraced limit where its own presence never stops coming a corps
perdu-discreet, powerful, trembling like everything which is to come.
Tramlated by Jonathan Derbyshire
6
Borborygmi
"Borborygmi" was a nonchalant and hasty response, premature as al

ways, to the request to provide a title for this talk. I thought: I don't know
what to say. I was mumbling and stammering. Then this word came to me:
a Greek onomatopoeia, now a medical term for a rumbling in the bowels,
which has, in turn, developed a figurative meaning in French, connoting
"incomprehensible and inarticulate remarks."
As it happens, this sort of response isn't restricted to this particular re
quest-the request to speak about Derrida.1 More and more, I find that
each request to speak arouses in me an anxiety-but also, paradoxically, a
need to respond with an inarticulate grunt. As if each time it became
clearer to me that the response, indeed every response, must lead back to
the edge of language, exhausting its semantic resources in order to let
something that is, immediately and materially, the unheard sense of which
we are the hearkening, murmur and creak, albeit at the price of any possi
bility of identifying this "we."
So, at the very moment that I let you in on this insignificant anec
dote concerning my title, doing so simply in order to avoid having to come
back to it, I am confirming its structural or transcendental, which is to say
historial, necessity. What behooves us-us other philosophers-is to ar
ticulate the inarticulate remarking of a sense more powerful and more re
mote than all configurations, constellations, or constructions of sense.
Borborygmi 113
What falls to us in this way is the job, precisely, of articulating sense,

its power and its withdrawal. It is a matter of articulating the inarticulable,
not of lapsing into mumbled incantation (poetry in the worst sense) or of
settling for the displacement, reversal, and perpetual relativization of con
cepts (of settling, that is, for nihilism). It is the inarticulable as such that has
to be articulated, with the proviso that it is precisely the "as such," in with
drawing, which is the problem here, though in such a way that this with�
drawal is seen to belong essentially to the "as such" as such. In short, we
need to express the fact that truth, each time, opens and inaugurates the
outside of all truth, but in a way that is, each time, proper to itself, ab
solutely proper, exact, clear, distinct and distinctive, unique, certain; and
present.
Or, to put it another way, we must name that which has no name,
name that which, by definition, witholds itself from nomination. More ex
actly, we have to name de-nomination itself, put a name to the very with
drawal of the name, as opposed to naming a "that" which would have no
name. The tradition has always sought to give the name "God" to what has
no name. God is the (nick)name of the Name taken absolutely. It is the
nominal essence of what is beyond all names. If the "death of God" means
anything, if we are at last to find a sense of ourselves in it, it is because we
need to learn to stop naming a "this" or a "that" which would be beyond
all names (but which would be, for this very reason, the repository of an
ultimate nomination and propriety) and instead to name properly, for
every "this" and every "that," for all thitlgs, the deprivation of the proper
and the name: the most essential origin in the midst of the inessential
fragility of being.
Naming requires that a naine be made. In Greek this is called ono
matopoeia, the production, creation, or poiesis of the name. We know that
there is never genuine onomatopoeia in languages. Its very concept is con
tradictory: either there is a noise, which is precisely not a name,. or there is
a name, which imitates a noise without being the .noise itself A contradic
tory or limit concept, then, but one that language nevertheless brushes up
against incessantly: the thing making a name for itself, rather than the os-
tension of its sense by its name. .
Not a proper name then, but the thing itself, materially, being the
singular stamp of its truth and, at the same time, the syncopated with
drawal of its name, and this very withdrawal, moreover, being the truth of
the name. Is it possible to think of an onomatopoeia ?f truth? Of truth
;"" .
II4 DIFFERENCE
naming itself with its own sound, so that what is proper both to it and to
us can resonate or ring out? But truth is essentially self-presentation. Truth
presents and names itsel£ All the while truth turns itself inside out, as a re
lation to itself, as the' enfolding of the innermost distance which forms it,
just as it presents itself to itself and as it presents self Can we thus imagine
a borborygmus for truth's "intestinal difference"?2
This self-presentation is so intimate and intestinal that it is also en
tirely foreign. Is it a question, then, df a barbarism, of the language of truth
being a language of the other, of the wholly foreign, and, as such, being
badly formed, mumble.<f, and stammered? A barbaric idiom? Does Derrida
think about anything else? Is Derrida naming anything else when he writes
his own name, "Derrida," when he writes this name and about this partic
ular proper name beneath his signature? Throughout his work autobiogra
phy is at issue to such an extent that all other questions appear secondary
or derived.3 Tpe philosophical order itself seems to dissolve, to capsize, or
to run mad in the erratic empiricalness of a name beyond all question or
concept. But beneath autobiography, and beneath this "outside," if not as
this outside, could it be that what is really at stake is an auto-hetero-graphy
of truth?
II
What or who is there behind Derrida [derri�re Derrida]?

There is more than one question here-as we might suppose he
would say himsel£ This question cannot be made univocal, for it could
conceivably contain questions of genealogy, antecedence, foundation, or
substance, as well as a suspicion about a disguised presence or motive. Sim�
ilarly, there are several ways of construing that "behind" as a meaning or
direction: backwards, forwards, as already given or to be discovered up
ahead; as "behind," de retro; as an antecedent or a return, as already there
or as the coming of a return. But always coming from behind, never
frontally. We could say the same about the object of the question: what is
there or who is there, two possibilities that leave open the elision crossed by
"there," the "there" that stands there for the "there" presupposed by "be
hind" or "after," precisely. Finally, the question leaves open the very subject
of its questioning: Derrida the individual, the philosopher, the signatory,
the signature, the name, the signifier, or the improbable signified of a
proper name, in general, the sense of a "derrida," like that of a rudder, a
riddle, or a drawn-down-but in what language?
Borborygmi Il5
Consequently such a question must be handled in accordance with

the use he himself-he, Derrida, the one in question here-makes of the
such [tell, of a such without an as or a that, of this archaic such, which he
has made into one of the singular features of his lexicon and syntax (pre
cisely, of his syntactical lexia). His fanatical use and abuse of the such shows
just how much he values the ability to upset demonstrative, indicative, or
indexical determinacy-of this, that, or the other-to make resonate there
both under- and over-determination.4 A such that is not as such, a such
which stands alone, the subject of an ostension rather than a designation,
without reference or referent, comparable only to itself arid therefore in
comparable, incommensurable, with no gap between the similar and the
same. Neither as such nor such as it is, but such without relation to any
genre, or else strictly unique in its genre and thus without generality or
gerius. The idiom of a unique singular, one such, .such a Derrida. The real
Derrida or the truth ofDerrida, or even such a truth ofsuch. What is there
behind that? "
In putting these extremes of the idiom together-on the one hand,

the extremity of the syntactical operator which connects nothing (the
"such") and, on the other, the nominal form which signifies nothing and
names only the name, as the proper itself, "Derrida" -we are brought to
the outermost limit of the idiom. There is nothing behind it. It refers to
nothing, it makes no sense or connection, it merely echoes itself, like a shot
or a noise, like the emphasis of a pure phasis. And yet it is already implied
in reference; it relates to relation and names naming. In a vacuum,
granted, but a vacuum which �reates a gulf, an appeal for sense that is like
an intake of air, a pure and vertiginous aspiration. Idiom is impossible, we
know. It is the impossible, as he (Derrida) never stops repeating: it must be
understood that we stand face to face with the impossible, faced with the
question: "How does the impossible express itself, what does it mean?"
How the expression of the impossible is -an impossible meaning. But this
same wanting-to-say-the-impossible makes the impossible itself snap or
crackle, a barbaric idiom whose very barbarity c�n be heard at least by
those with an ear for it. Against such a name, sense or truth itself resounds:
its sound, its echo, its muffled cry, its rustle, its murmur, or its shout.
. Just at fa meme]: that is the law of idiom, in the double polarity of the
such and the proper name. No relation, no signification. What is said, if it
is said, what is stammered, mumbled, or murmured, is just at the idiomatic
word, just at the onomatopoeia of the impossible. There is nothing behind,
therefore: no depths or reserves of sense or of truth. There is nothing be-
u6 DIFFERENCE
hind Derrida as such, evidently and eminently, nothing. All background, all
hypokeimenon or subjectum, disappears ipso facto: the idiomatic gesture or
tone is responsible, by itself, for this disappearance and abolition of all
wishing to speak, all intentionality, and all plan. Nothing behind and, in
consequence; everything up front. Everything pushed forward, but a for
ward with no backward, not even a phenomenon, not even a surface.
If there is nothing behind, there is nothing in front, either: nothing
ahead of itself or of us, nothing which relates to itself or to the other. Not
a manifestation or an event, not a story and thus neither a process nor a
narration. No autobiography, therefore, but the scratched outline of an au
tograph, an event, ifyou like, though with nothing occurring or arising but
the most extreme sense or truth of all sense and truth.
And all this only in a sense, of course, for there could never be sense
without the alterity which works over sense as such. That is its truth, in
fact, the truth of sense. If I say such and Derrida, and if I say One Such in
general, I could very well be said to be saying nothing, but it could not be
said that I am not saying. And that is what cannot be affected by even the
most extravagant claims of the skeptic. The most obscure and barbaric id
iom can indeed take language to the limits of meaning and communica
tion-but it is still language, it is language which is thereby stretched to
the limit. It is language that has become a thing, withdrawn from any re
lation to sense. But this thinglike language, this noise or mark, itself means,
even if it expresses nothing, if it wills to say nothing, or even if it wills not
to will. It is beyond the will. It seeks neither to communicate nor signify,
but is the pure expression of that which puts itself forward without going
outside itself, stamping its own truth on itself Dividing itself without go
ing outside itself, necessarily an auto-hetero-graph. An expression so pure
and S9 in tune with itself that it is precisely the annihilation of the will as
representation and as power to present representation. It is, in its tension,
just the triggering of self-presence.
The click of the trigger. "I cl'," he says:5 clack, lack, ale, gl, tr, infra
or intra-verbal phonemes, like the inaudible "a" of "differance" or such
parentheses, onomatopoeias, such glug-glug, tic-tak, trrr, or words that
might one. call, in their way, phone-emphatic, wink, gul, hinge, thence,
dike, tint, sing, an obsession with resonance and assonance, a poetics that
is above all sonorous, infra-significant, where one blows out of all propor
tion sonorities slipping outside the sign, drawing out the sound of the sign,
angiospermic, androeciumic, epigynetic, · petroglyphic, heliotropic, and
. .
,
Borborygmi Il7
. thus communicating with a philosophical beyond of signification, port

manteau-words and concepts multiplied almost to the point of exhaustion,
untenable yet retained, hurled, lost in the profusion, destinerrance, emas
culation� peniclitoris, logoarchy, signsponge, the jerky spasm of an eructo
jaculation, logoroperatergo. This is not all: one must then consider the
whole sentence, and then the set of sentences making up the book, and
then the indefinite sequence of books and the fearsome, irrepressible man
ner in which he piles them up and arrests them, allowing questions or hy
potheses, references and allusions, to proliferate, making them each other's
guardians until he decides to banish them or send them all flying, to the
point that he pulls the rug out from under his own feet or takes back what
he had already given away up front.
A tergo, here we go again. It is from behind language-from behind
by letting oneself slip to the bottom, to the rear, or indeed from behind it
by turning around back to the front, by twisting all the front to m.ake it
turn back in the rear-that his frenzy of language seeks indefatigably to
make idiomatic the barbarous, thus making a language purely wordbound,
but also, cut off from any tongue, purely the thing itself, a characteristic
that would no longer be Leibnizian because of no longer being symbolic
at unless it were so absolutely, purely, and simply: a pure division of the
symbolizing thing from itself, splitting so as to let its fracture sound and
thus let itself be recognized, by and to itself For and in itself-but then,
necessarily, such that to the other, in the other, and for the other this lan
guage engraves or has engraved itself on itself, a mark that at the same time
sets language going behind and in front �f itself, always in retreat and al
ways sent up ahead and behind: and thus, properly.
And what is behind all this, at the very least and in a first approxi
mation, what if not what is proper, what is its own? But what is properly
the alterity of the proper? What haunts the proper, as he likes to say, as he
likes to haunt. himself with haunting and the sound of the word "haunt
ing"-is that it is not enough for the proper properly to be the proper.6
What is most properly the proper is the development and sequence in it
self of a formidable logic of self-marking, self-reference, and self-expres
sion. There is no proper, no own, without appropriation, and the "I" is
nothing, not even a Kantian empty "I," without such an auto-graph, the
very auto-mark by which alone the "auto" sets itself in motion: the origi
nary trigger, or starter of self-presence, stemming originarily ftom presence
to itself A heterogeneous auto-mark, generated from the other in the most
II8 DIFFERENCE
intimate or intestinal reaches of the auto. But what is this trigger if it is not
truth? What else could it be but this alterity of the true, which grasps the
thing as such and properly names it, not in order to signify it, but to make
of it the senseless origin of sense?
The truth is that the thing names itself properly in such a way that
nothing precedes it or subordinates it; it says itself in being, if not this side
of or beyond being, but always saying itselfwith a saying before or beyond
discourse, saying or manifesting the itselfof the proper and the proper as
itself-the to-itself which opens sense itself.
Without that, would there be anything there at all? Would there be
someone, a thing or a person? In allowing the impossible idiomaticity of
the proper to proliferate in a starry madness of sub- and sur-nominations,
of hyper-nominations, like galaxies expanding around a black hole of the
proper name absorbing all sense, it is the proper which "Derrida" is stalk
ing and tracking, and trying to make melt away and implode on top, un
derneath, behind, or in front; nothing less than the totality and the archi
totality of the proper in truth, thus its absolute, singular, irreducible,
incompressible, irrefragable, irrecuperable uniqueness, but also its ab
solute, indefinitely plural, multipliable, extendable, communicable, ex
changeable generality. Such a Derrida One Such all origin, any living
= =
present of sense, the birth and death of each one as every one which rec
ognizes itself as such, as having nothing to recognize but its uniqueness
without unity.
III
Let's leave Monsieur Derrida there, as we must. Let's abandon him to

that for which he is merely the borrowed name: the self-naming-in-truth
of everyone, of each entity unique in itself This today is the absolute need,
the most pressing requirement of philosophy (and/or poetry, of their in
testinal difference) in the age of suspended assumptions and abandoned
figures: that everyone be truly named and that sense emerge afresh from
the heterology of all these singular nominations.
Let's immediately move behind Derrida, straight to this truth. We
can expect to do so, however, only by passing through his eponym (as if
there were ever a name that wasn't borrowed . . . ). What is behind him is
behind there: truth does not reside in a generality, or, at the very least, this
generality does not have the consistency of a homogeneous other world or
�" ;-:-;::- � "� . " . " .- " "
Borborygmi II9
of a subsumption. On the contrary, its "corisistency" is that of the discrete,

singular disjunction of all in one arid one in all, at once the same for all,
just like that identical for all, and each time identical to itself alone. (It's the
same question: neither "the people" nor "the individual"; neither "the com
munity" nor "the hero"; and indeed, neither "philosophy" nor "the
thinker"; neither "language" nor "the poet." Rather, the question is how
one distinguishes itself from the other, and how to pass from one to the
other without referring or reducing one. to the other.)
Behind there: in the same spot as the name "Derrida," a random
place like any other, but also the unique, the most unique place to which
he accords the exorbitant privilege of revealing what truth truly amounts
to-that there is no truth which is not, each time, exorbitant.
"What or who is behind Derrida?" is the only autobiographical ques
tion worth asking, so long as one hears it as a question about auto-consti
tution or auto-manifestation, not so much a question, in fact, as a wish or
a drive to search behind the self for what moves the selfand makes it come
to itself, as itself. (Posed from outside, it is in effect a false question, one
that belongs on the side of the antithesis in the Kantian antinomies, reach
ing back all the way along the infinite regress of causes. But it will be un
derstood that the truth I am speaking about is inseparable from freedom,
from its singular and absolute beginning, from its liberation before each
and every particular "freedom.")
The autobiographical question-or the autobiographical urge, cu
riosity, attraction, instinct, compulsion, and indulgence7-can only pro
ceed from this interrogation: What is there behind the self, and what en
sures the advent of the self, something hidden from the self but which it
'
searches after in order precisely to be this very self? This questioning �or
drive must inquire after what precedes it: it, the question, or the drive, but
that is to say the autos itself, which is not there unless it seeks itself, de
mands itself, and pushes itself (marks itself or implodes), and, preceding,
is conjured up, that which is pre-dicted in being pro-duced, is made to res
onate before it finds its own voice and indeed so as to let be heard in ad
vance what is proper to its voice (the proper of a voice in general; that is to
say, a unique resonance and an inimitable timbre, or that which wants to
express itself as such). Strictly speaking, therefore, the autobiographical
question can be nothing but the question of the heterological antecedence
of the autos itself, or in the autos itself, or in its ownmost behind. And it is
there, after all, this behind that gives to this question or compulsion, this
120 DIFFERENCE
compulsion to question, at once its absolute, vertiginous necessity and its

constitutive trait of impossibility: it always fizzles out at the very point at
which it is being put together. But perhaps it's precisely the SOtlnd of this
fizzlipg out that it wants to be heard, even if that means bursting the ear
drum or putting up with the echoing of the void.
Derrida hasn't failed to amplify the question. In a frenzied autobio
graphical turn, he has not only answered the question "What or who is be
hind Derrida?" but has given, prescribed this response in inscribing "Der
rida," already, right at the back. Thus (and here I'm cutting, extracting
from, a text that's arranged precisely to prevent such abbreviation; I've sup
plied enough of the context, though, so as to give a whiff of the chords and
harmonies of the autobiographical music in play here):
A fleet of screens [paravents] with purple sails, purple veils [voiles pourpres], a fleet
ready for ,the attack, the defense, a fleet guarding itself at the prow and· the poop,
.
gold spurs for the parade.
The parade always stays behind [derriere] .
Derriere: every time the word comes first, ifwritten therefore after a period
and with a capital letter, something inside me used to start to recognize there my
father's name, in golden letters on his tomb, even before he was there.
A fortiori when I read Derriere le rideau [Behind the curtain].
Derriere, behind, isn't it always already behind a curtain, a veil, a weaving.
A fleecing text.8 .
Behind a veil, the truth. The truth ofwhat is behind, ofwhat either can be
unveiled or remain hidden, a promised and intangible nudity, and at the
same time the back or behind of truth, the back side of the fabric, texture
itself, itself and spun out of itself, not something to be veiled or unveiled,
but something set out-something that sets sail, in the sense of taking to
the high seas and !paking for clear water, without limits, a showing that is
both exhibition and protection, ostentation and dissimulation.
What is he showing here, what truth? He shows how he already grabs
hold of himself from behind himself, or rather, he says how "something in
me" grabs hold of itself, how the very thing of the self grabs hold of itself
by itself, a self behind the self, a selflike its own origin or provenance. Not
just the active origin of the father, but an origin already originated ahead
of time and before its hour, ahead of its own emergenc;e, already, properly
speaking, corivey�d to its properness of immemorial provenance. The
deathly inscription of the name, the inscription of the death of the name,
of the name as death,' my own death, then, in my name, though a death
=�==�..."",
. . - . . . ..
- , :... ---
'. " ,. .
- --_._._-_. :;.....;; . - -.::;.;.:..!� �"-,..,"';.
' ., '. .
'':.:-'; .. "- -'- ;:.
",_. �.- - ... . . ,.: - -... " �'-';-" . -
Borborygr.ni 121
seized from behind as what was already behind the origin itselE Before me
the tombstone allows me to see the name as the obverse, as the reverse of
the origin-of its own origin, which it will never grasp or recognize, except
from behind and as the behind.9 "Derrida," therefore, picked up and
turned upside down, turned upside down and cut off from his da:1 0 da
without da, like Sein, or, who . knows, like Mit-Sein. Being alone, and be
ing-with, being-alongside-oneself, being-with-what-is-before-oneself, and
not being-there, nor even being-the-there, but being what is behind the
there, what is not there, offered, indicated, or localized, but inscribes itself
beneath.
Isn't that the truth of the there, however? The truth of each there in
and as such? For there is not one . encircled locality, determinate and op
posed to another (not the da as opposed to a fort, but rather the fort of all
da) . Da is the opening up of place before the place itself, the already-open
.
without which there would be. no place, no site of being: the hinterland of
place. The da cannot be occupied. Rather, it is a matter of being; that is,
instead of presupposing it as a given locale, presupposing oneself in and as
the ownmost presupposition of the da, in and as its taking place before and
behind the place. Da is the "essential openness" which Dasein "carries in
its ownmost Being":l1 it does not carry it in front of it, like something it
might present. Rather, it literally brings it along "all the way from home"
(von Hause aus mit), which is a way of saying "originally" or "in its own
most being," and which implies a house behind or from which one
emerges, even if, at the same time, it is the emergence which makes the
house (as the assonance Hauslaus suggests): the emerging which makes the
opening or clearing in which the house consists. The house or home: the
family, the name of the father, and, first of all, the genetic outpouring,
emergence, genealogy.
Hence da is oehind as the up-ahead'of the clearing which always pre
cedes, which is precedence itself and thus the essence of pre-sence. A
dwelling place, in which dwelling consists in opening and opening oneself,
opening a "self [soil" as such, which is to say, again, a "home [chez
soi]"which is always, infinitely, behind itself and, in consequence, also al
ways ahead of itselE
Derrida cuts off his da,12 he scotomizes it in order to substitute for it,
like a delocalization and an alteration (er, "he" in German; erring of the
trace and of errance; era of the great temporal openings): thus, he gives his
da over to its truth, he reopens it and reinitializes its ending-and this ges-
122 DIFFERENCE
ture is none other than one of collecting, by which he inscribes on the

stone or weaves into the curtain the paternal cia, on the era cut off in its
turn. The exchange is impeccable: derrida is always already behind [der
riere] , which is always already behind derrida always already behind.
Derrida is always susceptible to surprising himself from behind. He
watches himself, watches out for himself, gets himself caught. He is on the
trail of the trace, which he effaces insofar as he le�ves its imprint behind
him. He is on the scent of effacement itself: he effaces an enormous over
load of traces, marks, and gilded letters. His mania for marking is the mad
nessI3 of effacing the mark in marking effacement, in one fell swoop always
knocking himself out, from behind.
. But this "Derriere" with a capital letter, this "Derriere" "coming
first"-not as a substantive, therefore, not as Monsieur Derriere, but first
in the syntax, thus coming about in the course of the sentence, raised
through a dot and through a blank space behind it-this "Derriere" that
he cannot encounter without recognizing what is his own, what is proper,
his proper provenance, birth-and-death, by writing it is he appearing to
himself, holding himself up, or objectifying himself? Has he sent this back
in advance? He didn't miss the opportunity.14 See, for example, a double
occurrence in The Post Card (which comes after Glas, and is duly legible by
any well-informed reader).15
The first occurrence, one line at the top of a verso page, begins with
the last words of a sentence that remains invisible behind it: "cup. Behind
the great man the dwarf with the flat hat, the slave or the preceptor seeks
to hitch himself up." ''A des" concludes "a dice cup," as if to make more
plausible that this cast of assonant words that ends in a beginning that
stammeringly repeats-de-de ["a des. Derriere"]-was a matter of chance,
when it reveals itself as what he so visibly calculated (and with that mark,
of course, he disguises his own track, if"ever a throw of the dice . . . ). The
second occurrence, this time at the beginning of a paragraph, is "Behind
Socrates he is as stiff as justice." .
I won't try to dissect what is so clearly presented to us in disguise, the
open secret that he wants us to ignore yet to recognize in the same blink of
an eye: Derrida behind and ahead of everyone, ahead of an entire geneal
ogy and lagging behind the whole of philosophy, the philosopher cut off,
by default or excess, from the self-engendering which defines the philo
sophical as such, defines the philosophical family and ancestry in the id
iomatic logic of the proper (which is perhaps only a double tautology, and
BorborYg7ni 123
of which the whole of Derrida's text, the whole text of every Derrida,
would wish itself to be nothing but a gigantic tauto-phono-grapho-crypto
phaner-ology, biting its own tail, in all senses and with all imaginable ef
fects simultaneously, fireworks and cold ashes, a madness watching over it
self in the moment that it unwinds, but arising also from this very close
'
watch.
Once more, and very logically, we need to leave Monsieut Derrida

there. Not only, in effect, better compulsively to show that he hides him
self behind, but also better frantically to emphasize that he puts himself
forward, in order to turn round and be nothing but his back, as if showing
a clean pair of heels. Not only to be seen only from behind, qut in order to
be simply the back, in the absolute sense of being, in order that the sein of
this Dasein be nothing other than this da which precedes it, but which it
has to be in opening itself up, not yet being, then, only opening itself to
being, not being, not being an entity there, but instead withdrawing so as
to emerge from behind any allocation of being, substance, or subject, so as
to burst forth in the sJtb or the hypo which no longer refers to anything, is
no longer predicated of anything: an absolute incipit gaping at the origin
of what is properly or improperly called "metaphysics," that is to say, the
intestinal difference of the phusis and technology of its reversal.
Everything comes back, you see, to the capital letter: the'whole affair
of the behind, and what went on behind, comes down to the capital letter
or, at the very least, goes by way of it. It is the capital letter which triggers
the propriety of the name in the impropriety of the behind. There musfbe
the incipit of the sentence: there must be the sentential or phatic opening,
the affirmation" the declaration, the leap without consequence or subse
quence, before all sequence, the casting into words, speaking as a cast, and
perhaps a cast before all of speech, the blow or throw.
But first, at the incipit, the capital letter is undecidable: Derrida gives
this situation a sort of general formalization when, proposing this leading
(princeps) sentence "He will have obligated," he asks �'Who is the 'He' in
this phrase. . . . by what right He carries a capital letter"? He replies, "Per
haps not only as an incipit," since one must allow the hypothesis "of an
other capital letter or the capital letter of the Other."16 The capital letter
can simply be the mark of the incipit, "he" may be anyone, or perhaps the
124 DIFFERENCE
mark of the absolute distance df the Other-a hyper-incipit more with

drawn, buried deeper, than any primacy of the logico-grammatical subject.
It is both at once, it carries both at once and one in the other, it replaces or
. covers over one with the other indefinitely. The covering up of "Derrida"
by "Derriere" effects 'nothing else: at once any "behind" [n'importe quel
'derriere1 , which is also to say any proper name, and anything as a proper
name, simply the mark of this absolute limit: naked propriety, which, as
such, has nothing proper about it and, at the same time, the absolute,
unique "behind" which subtends all possible presence, the opening and
withdrawal into the other of all identity and all presence; but also, and
again at the same time, any "derrida," the son or the father, and of course
with that the father's father (which process, from son to father, one thing
leading to another, will soon end up scrambling all proper names in the
complexity of genealogies), and at the same time the one and only Derrida,
the madman who signs all that, absolutely, though by doing so he makes
himself something other than all identity, something which passes behind
all possible identification (or else echoes like the trigger or the echo of the
faint timbre of the other at the very heart of its own identification).
All this is not as vertiginous as it appears-OI; rather, this very real
vertigo is basic or elemental. The appropriation of the proper (reaching be
hind oneself in order to endow oneselfwith the proper) can only take place
in the properly untenable conjunction .of an absolute "Illeity" (the Other,
the Most High, the Most Distant) and a common, indifferent and inter
changeable "he" (the other, always an other, yet an other).
What occurs in this conjoining or conjunction is nothing less than
the conflagration of sur-significance and in-significance: the one can only
emerge by way of the other, the one opens out in the other. This mutual
opening opens meaning or significance in general: that it has sense, or the
truth of sense, is something absolutely proper, unique and originary, and
thus indistinguishable from its own substitution by every other. To put it
another way: the absolute Narcissus can only grasp himself, if he does so,
as identical and equal to all others insofar as he is the Unique itself That,
after all, is the most enduring lesson we have learnt about the constitution
of subjectivity-going back at least as far as Saint Augustine and then right
up to the Jemeinigkeit of Dasein, by way of the ego sum, the universality of
the Hegelian 1, and the Husserlian alter ego.
This lesson forces us to confront what is perhaps the most significant
fact, certainly the most powerful constraint, the one richest in resources
========��--�---- ----- ------.. --------�
Borborygmi 125
and aporias, in our entire tradition: namely, that autology is intrinsically

heterology. Logic, ethics, aesthetics, poetics, and politics are all subject to
this axiom, and to its double condition or double bind: that I must always,
inexorably, retreat both forward and backward, into what is more intimate
and internal, even intestinal, to me than my ownmost innerness; and that
there is sense, in all truth, only to the extent that I go outside myself, am.
exposed to other origins and to the other, to all others, at the origin. This
requirement owes as much to the erratic, incalculable, and inappropriable
luck of others as it does to mysel£ The singular has no necessity: it is each
time its singular necessity. I occupy necessarily the indifferent site of an ab
sence of necessity which I share with everyone, and where sense opens out.
The retreat behind myself is the same thing as voyaging out among others:
both are plunged into the proximity of an infinite distancing. They touch
at a distance: this is what is called "being in the true."
In this connection; what purpose does the detour by way of "Der
rida" serve? Why should such a general lesson have to pass through there?
Through "there," through "Derrida," . which, of course, ruso means:
through anywhere and through anyone, but anywhere and anyone insofar
as the "any," here, signifies each time in its singuft;,r occurrence.
The generality of this lesson-and, I repeat" there is perhaps nothing
more general or more· generic in what passes, in the widest sense of the
term, for "our tradition" -lies precisely in its nongenerality: the heterology
of autology constitutes autology itself in singularities whose difference
constitutes, institutes, and opens the "auto" as such.
In the singular-singulus, one by one-generality is not arranged in
discrete units carved out of an overarching, transcendental or original ho
mogeneity: the genus, here, is from the outset the differential uniqueness, of
each "one." Without doubt, each "one" is as such in-significant and substi
tutable. But, in order to be substitutable or substituted for, it must be given
in its uniqueness, without which there could be no substitution. Without
that there would just be indistinctness, the mere, massive conservation of
a substantia noumenon. Nothing would happen and no-one would come on
the scene, there would be neither birth nor death. No Derrida, no Plato,
no Dupont, no Schmitt, and nothing behind, everything quite simply put
up front, vorhanden, objectum. What happens, on the other hand, the sub
jectum surging and bursting forth, is that everything happens, everyone
comes on the scene. It comes from nowhere-from behind, ever farther
behind-given, thrown rather, like nothing so much as a uniqueness
, �- . . ,,'
126 DIFFERENCE
empty ofsense: this emptiness, in truth, is the opening of all sense, in and f
to all senses and in all directions. But the opening has to be opened, slit, (
launched, burst apart, or cracked, each time, incessantly.
Opening has the character, simultaneously, of something entrenched

and of generality or universality. Entrenchment because it (fa) opens, it
snaps apart, the depths or the whole is under:mined {those depths or that
whole which will therefore never have taken place, which subsist nowhere,
which are neither depths nor whole}. Universality because once that snaps
open, it opens in every sense, communIcates opening to all points and in
all directions (it is that which opens points and directions as such).
All our concerns are gathered together there, those belonging to us
latecomers and early risers: we emerge from the depths and the whole, and
we call this emergence history, Occident or world, technology. We spring
up, strange and frightening, from an opening which gapes everywhere and
which refers all cohesion of ground and of totality to the nonplace. Thus
from behind ourselves, from beyond all identity, we come on the scene,
which is to say, we bring ourselves on the scene, unspeakably new. They
come on the scene, over there, up close, just behind or ahead of us. This vi
· olent torsion exhausts and dazzles us.
In a flash, an entrenchment is communicated throughout, Its ab
solute uniqueness {its infinite value and dignity} is distinguished ab
solutely: this distinction is nothing but the negativity of entrenchment, a
negativity which is itself the most complete affirmation, the unique and its
propriety,17 the unique appropriating itself properly. All distinctions are
equal, they each merit, equally, the passion of the origin, an excessive love
which signifies nothing less than the recognition of unrecognizable
uniqueness. They are equal, and substitutable, though this equality is the
equality ofwhat is most unequal in the world: equality of the incommen
surable, equality of an appropriation which is each time an infinite over
flowing of self into self
The proper is not only what digs itselfjn, entrenches itselfagainst the
rest: it is also what digs itself in and retreats into itself infinitely in order to
open there the space of appropriation. The advent of self is behind every
self T!:>.e proper pushes the self back beyond all propriety, so as to let it
emerge. Proper is pro privo, it is a movement, not a given but a giving: a
,-,. : -,
'
.- - - -- :
, .' � . --
.;..- ._,:,,,,"-.;. ,- , •
"
:.. _ , .
--- �..
. -:- ,.:' - : -�:.: .. -- • • ' , < '-'., . "• .• • ' : _,••.•._.:.,·•• �;,,-_w• ..:.:,• .",�".. _.:... .. . . _. . . .... . .,._ . . __ _ . __ .,_�.. _, __
BorborYg7ni 127
giving of itself to itself, which In' fact m:ea�s giving itself up to what has no
other place or consistency than the "itself". of the "giving itself up" itself.
To appropriate oneself: giving oneself up, or devoting oneself, to giving
oneself up or to devoting oneself-and always, in the final analysis, sur
rendering to the infinite turning back which constitutes the structure and
the sense of self.
Behind, consequently-not what would be behind, but the being
behind-itself of the unique. Behind there is nothing for sense, but this
nothing itself is like a hard, impenetrable, resisting thing: the being-back of
the back itself, which attaches to nothing and through which nothing,
coming from elsewhere, can penetrate. Behind each "one," as its behind,
there is the primal matter of the unique: uniqueness itself, insignificant and
as ifreduced to its impenetrability. Primal matter is the back side: that is to
say, that which has. no face, that which one cannot face up to, but which
opens and which comes into the open, or as the open itself. The open as
such: that which cannot be indexed "as such," being comparable to noth
ing, not even itself, since the "self" its�lf is still, infinitely, to come. The
open as such, incomparable, bU.t which, barely open, resounds in itself as it
self, the echo of its idiomatic creaking, cracking and straining.
This is why it must be one, each time one, which impossibly passes
behind: it doesn't pass behind as one might journey to the depths, behind
appearances or into the supposed consistency of a whole. Rather, it must
pass uniquely to the unique reverse of the unique. This reverse is neither
present nor absent, it is, properly speaking, neither form nor matter,
though it has the irreducibility of matter and presence, and it has the al
. teration and torsion of absence and form. This torsion of the irreducible,
this splitting at the bottom, which does not arise from it but nonethel�ss
belongs to it just as it breaks it to pieces-this splitting which conse
quently withdraws into the depths, as unobtrusive as disruptive or diffi
cult-is a "kernel," not as a hidden presence, but as something which es
capes from "the laws of presence itsel£"18 It is the hard kernel which is not
some other thing behind the thing, but the thing itself behind itself, with
drawn into its reality. It is here just a que�tion of the real: res, the thing it
self in its own detonation. Derrida's thinking is an absolute reaiism of the
pure real, that is, of the real which springs forth froni behind everything:
realizing everything, while being nothing realized, being nothing, the res of
realization itself. Not only does this realism affirrri the real, it touches it. To
touch it is not to merge with it: it is to come into contact, to experience the
128 DIFFERENCE
resistance of the impenetrable, of the thing or being as the hard blow

which rings out.
This is why Derrida wants to touch himself as if touching this real,
he wants to touch the real as if it were himself: to be himself the inexpress
ible kernel from which sense originates in what is beyond sense, in a be
hind of sense or, rather, in a sense behind which is neither the reverse nor
the excess of sense, neither its hyperbole nor its exhaustion, but merely its
opening and its gaping wide. This is simply being-to-self, but being-to-self
turns out to be nothing but a being-to-that-which-is-not-already-there: self,
the real, is a hard kernel because it is not given, because its being as kernel
consists in an endless recoil or retreat, though this recoil without end, far
from implying flight, is its most proper stance, its emergence in a combi
nation. of anxiety and joy.
When I say that he wants it, I mean: he wants to get behind the will,
he wants to wish just that its breath is taken away, anxiety and joy mixed
together, in the jubilant mourning for his name, whi�h resounds as a lost
name. Thus he wants to touch the secret of his name,19 which is the secret
of all names and is the s�cret par excellence: �hat remains secret even when
one unveils it, especially when one unveils it, that about which there is
nothing to say, except to say its name again and again, a bizarre and bar
baric background noise.
(Music deprived, at bottom, of art and of articulation in general, of
discourse, of form, and of sense, a proffering of the unnameable, archi-trac
ing trait of the sonic rip around which the air wraps itself, vibrating: the
spirit of philosophy out of the matter of music, this is our entire history.)
Being-to-itself: being-thrown-.:..but not simply precipitated into an
abyss, but thrown into the splitting which opens it, and out of which it
emerges in falling. Thrown, then, as if rhythmed by its going-to-itself, in it
self,20 which takes it out of itself, wrenches it from the depths and the
whole in order to hurl it toward the inexpressible unique which, in turn,
hurls it back into the general communication of all uniquenesses in the
very rhythm which disjoins and conjoins them one to the other. Rhythmed
autoheterography of existences.
The itselfof the self is just the step and the echo of this rhythm,
where the real properly refers to itself, across its opening, the absolute and
original impropriety of the thing itself; the syncopated beat of being, to
which being is reduced. Already and not yet language: the back of lan
guage, a barbaric glottal stop at the back of the throat, the rough crashing
' .' ' , ' " . .. _'.' '.
_ �..,._.�_ 0';. _._�", •.••, . �...." ......_.:.. "..."'.:.-�,. :...� " �' _ '." r"'" "•.•. "-:' '"� ' '_ _ ''-'':' .';';;:-,.t'
Borbory�i 129
and the ending of a song, growling and grunting, a nonspeaking animal

which gives voice.
In order to touch this rhythm, one must never Stop "effacing all the
traits of language," toward "'words' that are so 'true' that I can no longer
recognize them mysel£"21 Words which no longer name anything, or rather
which name only the behind of all naming, which articulate what is inar
ticulated in the opening of the real, a song which sings nothing but which
modulates-or even silences-this opening itself. A proper name, then,
like the rhythmic and melodic idiom of the origin itself, its unique poem.
All proper names are common nouns and, �eciprocally, all common
nouns are proper names: names and language are born in this vacillation.
Any which, consequently, any such and any da, making any sound,
indefinitely substitutable, a simple exemplar at the heart of the innumer
able: but at the same time, necessarily, not any one but this one alone, the
unique and inimitable example of self, "Derrida" in this case then and be
hind Derrida still Derrida rather than a bottomless behind. There must
never be any exemplarity: the unique must begin (itself) again each time.
The example of the inexemplifiable must bury itself in and re-emerge from
each uniqueness.
Right at the insignificance of a name, in the va,garies of its asso
nances, and by their very coinage, is coined the absolute significance of one
for itselfas much as for every other. It resonates dimly, it creaks or grinds,
chokes even.
It's not something that can be heard, it hovers as if between un
nameable sounds and the inimitable timbre of a voice, like the echo of one
to the others, which a hiccup would suspend. This does not make itself
heard, but the whole of the real resonates there.
Translated by Jonathan Derbyshire
<_' _ ._;" <.: _._'i-..:; ,�._ " __,.:. :-, . .
JUDGING
" . -" .�.�. - • ._-. ,.- ,,",..-.-�.- --_....__
.. , __ ,:._�-.__,...,....__,__ ___ ....._ , ,_,,_ _._. •",�__·r"'�....__
.. �__. _ .
:,,' '.-'''- -:.. . .:-�.:.:::? '-,:,.:-:,-"':;.:.� :;..

.,. . . .,., - _ ... .. ,_..:.:.. - .. �
, . ... ;�-:. �-..•", ; ,_ ._ . . - - " . , . :".--,�-. ,,'
. .. .. _... . .::.. ..
. '.,..;. ...;.,.:..__. .' " ' '
The Kategorein of Excess
Stark violence
Lays all walls waste; private estates are torn,
Ransacked in the public eye. We forsake
Our lone luck now, compelled by bond, by blood,
To keep some unsaid pact; perhaps concern
Is helpless here, quite extra, yet we must make
The gesture, bend and hold the prone man's head. I
Might not the categorical imperative be something that we can no

longer avoid? Might it be-'-in Kant, certainly, but also in what is a long
way from Kant-an obligation for our thinking? An obligation, moreover,
that is indissociable from what most urgently obliges us to think, an obli
gation that is not the self-reproduction of the philosophical exercise but, if
we can seriously say this, a worldly demand? And, over and above its being
indissociable fr�m this demand, might this obligation not be inalienable,
not merely as something proper but also wholly otherwise?
Nothing is more foreign-or stranger-to us than the categorical
imperative. The phrase itself is one of those rare technical expressions that
have passed from philosophy into everyday speech, as if ow:. language had
been exposed [impressionee] to it, in both a moral and a photographic
sense. And yet, perhaps it only seems to have been thus exposed; our lan
guage holds this phrase at a distance, never uttering it without invisible
quotation marks. Indeed, although this phrase does haunt our. language,
our language strives to exorcise k "Categorical imperative" evokes, on the
one hand, the unreserved sovereignty of-a moral absolute, the formidable
majesty of an unconditional order; at the same time, however, it evokes the
inaccessible character of such a commandment, the impossibility of its ex-
134 JUDGING
ecution, "\Yhich is ultimately to say,the impossibility of obeying it or the

vanity of trying to submit to it. Moreover, its majesty is soon cloaked (and
this has long been the case) in a degree of absurdity or, in any case, com
ports itself in a manner that is decidedly obsolete. Insofar as Kant's signa
ture, included between parentheses in the quotation marks, is not effaced
(and it never is completely effaced), it is the Kant of a rationalist and for
malist Schwarmerei that shows through, the Kant in whom pietist
hypocrisy competes unstintingly with a catatonic understanding. Two
choices: either we smile at this or we become enraged by it, from Hegel to
Nietzsche, from Hegel to ourselves.
Above all, however, the "categorical imperative" carries with it the
values or i:he determinations that we hold to be most loathsome for our
culture and our moral sensibility (something that stems from there no
longer being any moral philosophy, without which the nature and scope of
this fact cannot be put to the test). What the imperative brings with it,
then, is not only the famous "respect for principles" that takes matters "out
of our hands;" so to speak (echoing the famous "dirty hands" of culpabil
ity), but, first and foremost, the notion of absolute commandment, the ur
gent tone and the coercive gesture, referring sometimes to the beautiful
soul, sometimes to an unqualifiable tyranny. Moreover, the imperative
brings with it something that inverts all of this: obedience, submission, be
ing-obliged or being-constrained, manifest and inadmissible antitheses of
the freedom whereby we define or assert ourselves.
The imperative suppresses the freedom of initiative, and the categori
cal imperative suppresses the freedom of deliberation. Together, they sup
press the freedom of s�lf-determination, that is, they suppress what is, for
us, the Good itself, the "Good" that we no longer designate as such but
that consists for us in an absolute self-determination that nothing ought to
be able .to command. Nothing is stranger to our modern ethos than obliga
tion, and it cannot be engaged without there being singular confusions;
this sensibility no longer discriminates, for example, between Rousseauist
and Nietzschean motifs; or, again, it continues to eye Stirner and Feuer
bach in the same glance. Humanity and the individual are self-determin
ing; freedom is both project and nature. One thing is clear, however: free
dom is contrary to all obligation; it gains its authority from itself alone and
gives itself its own law. Lacking the ability to assign this act of self-giving,
our ethics and our politics lose all sense of direction and wander aimlessly,
from Nature to History, from Man to God, from People to State, from
Spontaneity to Values . . .
- ._ - - --- . -. � . . __ . . _ . .'-- .,-,��. - -- ."'._-----,-=_.. ._ - "'. _ - . ...----.£_-_ ..,-, .--..::........_ ---=--.<.:..." .' .. _- ..--'"".-: ,,�'":." --. -. ,, �.--"'-'"... .--.
• . P.' _� ,,':,�:_ ,,.'•. , ;;. ".: . • �.- . . . ... .. .,. _ . " .. _." _ � ',:.:., - .. ...::: ;...-,' _ ....... � ..... ...;-.. ..... ,.,...... .....,.. ' . _ " . �.::.
.••• .' �
::; ;., - . , . .. .
The Kategorein ofExcess 135
And yet it is always possible that the categorical imperative is, at the
same time, rather closer to us than we might suspect. Freedom itself, this
freedom conceived as a state-or as a being-withdrawn from every
power and from every external command, this freedom is posited as a "cat
egorical imperative," by which we mean, at the very least, that it is not
open to debate. (This is, for instance, the explicit or implicit motif in our
most general practice of defending "human rights.")
This being so, we somehow tap into and divert a certain aspect of the
word- "freedom." We claim that freedom is imposed by freedom itself, ab
solutely and unconditionally. In one way or another, we pose or suppose
that this freedom (or, if we no longer want to run the risk of determining
it in terms of an essence, then this or that collection of "freedoms" or "hu
man rights") is given, conceived, recognizable, or assignable. If freedom,
for Kant, is the ratio essendi of the moral law, this law is, in turn, the ratio
,cognoscendi of freedom (which turns the imperative into the singular -au
thority of this "knowledge"); for us, by contrast, freedom is thought and is
o�ly thinkable as being simultaneously the ratio essendi and the ratio
cognoscendi of all moral law. Self-evidently, therefore, freedom imposes or
has to impose itsel£ But this self-imposition is no longer really an imposi
tion; if it were not imposed on those who ridicule and degrade it (or if its
imposition were not sought), freedom wouldn't impose itself; it would
flourish, it would bloom spontaneously, since its nature is ultimately that
of an essential and pUre spontaneity. The imperative, then, is not exactly an
imperative. The imperative of our imperatives is that true imperatives must
not have the character of constraint, of externality, nor must they be tied to
the exercise of an injunction, an obligation or a submission.
(At the same time, an abyss opens up betWeen what we oddly persist
in calling a "subject," between what we represent as being stripped of its
spontaneity by economy, history, the unconscious, writing, technology,
and what is, in fact, the true metaphysical concept of the subject-to
which, in the last analysis, we no longer even realize we have been sub
jected in the name of freedom.)
Yet it still falls to us, like a muffled and obstinate demand, to think
something (freedom, for instance) as an unconditional prescription. Per
haps we cannot even think without insisting, in one way or another, that
this very thing---."thinking"-immediately obeys some secret intimation.
So, through or because of its very withdrawal, the imperative draws nearer
to us. And this proximity may well be closer thari everything that, under
the guise of proximity, we think of in terms of familiarity or intimacy. It
136 JUDGING
would be the proximity of that with which we are obsessed but that is lost "
to us, the proximity of that whose loss haunts us.
Now, what haunts [hante] is, according to its accepted etymological
origins, what inhabits or occupies [habite] or, on a more knowing etymo
logical reading, what returns to the stable, to the hearth, to the home.
Haunt is from the same family as Heim. The proximity of the imperative
might well be the Un-heimlichkeit that haunts our thinking, a disturbing
peculiarity that disturbs only because it is so close, so immediate in its es
trangement. But to return to the familiar abode is still to return to the
ethos. The stakes here are none other than those of an ethics, therefore2-
not in the sense of a science or a discipline, however, or in the sense of a
moral sense or sentiment, but in the sense, precisely, of a haunting.
. Now, it cannot be a matter of taming the peculiarity of the impera
tive or of pacifying its haunting. Even supposing that the imperative were
able to anticipate our future-to predict the return or the advent of an im
perative ethics-we have known since Hegel that such anticipation is not
the job of philosophy, which cannot pass beyond its own time. Which
means what, precisely? Simply that time-the element of thinking-does
not overstep itself; this limit, in short, defines it. To think is neither to pre
dict nor to prophesy nor to deliver messages, but to expose oneself to what
happens with time, in time. In the time of haunting there can and must be
a thinking and an ethics-if ethics it is-ofhaunting.
But assuming, despite everything, that such anticipation were possi
ble, it could never be the anticipation of a tamed imperative, an imperative
rendered familiar and natural. If we have indeed lost the imperative (as
sUining that such a remark makes any sense), we can rest assuted that, at
the very least, we are unlikely to recover it; its essence runs counte� to or
avoids this. The imperative cannot be domesticated-and this is again one
of the hallmarks of haunting: it is, by definition, something domestic that
cannot be domesticated. It does not enter into the economy that it haunts.
It leads us back to an abode that, as an abode, doesn't allow us to settle
comfortably into it. And yet it is still an abode. We certainly don't dwell in
the imperative, but we do dwell under it.
As such, it isn't a matter of recognizing, reevaluating, and reappro
priating the categorical impenltive, whether as a reactivation ofKant's phi
losophy or as a "resource" within it (philosophy cannot go beyond its own
time), nor even as a way of appeasing the ghosts that haunt us. It can only
be a matter of indicating the imperative's insistence for a thinking, our
thinking, that is less a "tributary of Kant" than it is one that submits to an
.
. . . .-. . --�..� . . . . . - '-.. "'.... .::" .. : .. . . ..;:.� ..�. -. . � . ' � '-- -'
imperative necessity whereby it ,is referred back, initially, from its very
opening, to Kant.3
Why, for Kant, the imperative, therefore? Why does the expression
of the moral law take place in the imperative voice? Why a prescription
rather than a description? Why an order rather than a recommendation or
an exhortation?
Kant's reply is simple: the imperative exists because evilexists in man.
There has to be the imperative because there is evil.
Immediately, this reply is one that disturbs our moral sensibility.
We're not about to tolerate Kant's imputation to man and in man of a
wholly radical evil. To the evil the spectacle of which the political scene
(and can there be, henceforth, any other scene? isn't every scene political?)
gives us a glimpse, a spectacle that we can agree is unparalleled in our his
tory due to its constancy, its technical nature, its rationality, to this evil we
want to concede only the nature of :in accident (and, reciprocally, the very ,
category of "accident" has ended up inheriting the intrinsic value of �
"evil" or a "misfortune"). Those who do not see history as the necessary
and perhaps asymptotic process of this accident's elimination see .it instead
as an accident in general, as a catastrophe having taken place on a prior or
ideal register. In either case, wouldn't the accidental character of evil be the
hidden II!-etaphysical resource underlying our paradoxical capacity to resign
ourselves to evil as such-the evil that we tend to call "banal"-so that we
can have done with it onCe and for all?
Here, though, I'm not so much raising the question of evil-which is
basically the question of its Kantian incomprehensibility-in itself as I am
evoking it from afar. Any such examination would demand a great deal of
groundwork since, in all likelihood, it couldn't really begin without sus
tained and prior consideration of the imperative. AB is the case with free
dom, the imperative is the ratio cognoscendi of evil. Concerning the latter,
let me merely say two things: first, that its question (if it is still a question
in the classical philosophical sense) is there at the very horizon of our ques
tions and, second, th�t its presence as a question does not, in the face of
the accidentality of evil, posit something that amounts to its pure and sim
ple essentiality, and thus to some modern avatar of "original sin." Not that
I want to make concessions to our sensibility, which recoils from the 'evo-
138 JUDGING
cation of an "original sin" (without ever going on to ask what we might

mean by "origin" or by "sin") . .No, I merely want to say that our sensibil
ity-whether "pessimistic" or "optimistic"-is incapable of measuting up
to the question of evil, and that this inability itself provides the measure of
what falls to thinking (here, the "thinking" for which we are calling re
quires not simply a dispassionate or cold consideration but, perhaps, a
wholly different sensibility for thinking).
There is the imperative because there is evil. There is evil, and that is
to $ay, the possibility of transgressing the law-and the tendency to do so.
The law exists as a commandment because it can be violated. Now, this
does not mean that there is, on the one hand, the law itself (in the way that
there are physical laws, for example, laws of nature) and, on the other, the
imperative addressed to someone who, accidentally, might not direct him
or herself spontaneously according to the law. Were this the case (and this
case is typical where laws are concerned), the imperative would not be the
law itself; as an imperative, it would not be identical with it. As such, it
would have a decidedly supplemental corrective and pedagogic function. It
would address itself to the infant in man, and not to man. But the imper
ative involves neither punishment nor reward: and it's in precisely this that
we find its categorical rather than its purely hypothetical character (a dis
tinction equivalent in Kant to the distinction between moral and technical
imperatives). The law takes place only as the imperative. And so the im
perative does not prescribe that we act in accordance with th� law, since
"the law," in this sense, is given neither by the imperative nor prior to it.
Ra.ther, it prescribes acting legally, in the legislative sense. It prescribes that
the maxim of action be the founding act of a law, of the law. Without
dwelling on the formidable implications of this state of affairs, let us sup
pose that the imperative prescribes the act oflegislation (hence it prescribes
.
"umversally") .
Let us leave to one side the metaphysical or ideological model ofleg
islative sovereignty-whether originary, institutive �r constitutive
which is also involved in this thinking. The effects of this model, incon
testable though they may be, are submitted by Kant to an essential
limitation: it. can never be a matter of either producing or presenting this
originality itself Here, it is enough to recall, as a clue, that in the political
· - . ."
.,. '..•. '.. . .;.:.. ---' -;;. . ��..
realm Kant explicitly renounces any search for the originary institution of
the legal state. On the contrary, the political order is itself submitted to
the imperative:
There are thus three distinct authorities (potestas legislatoria, executoria, iudiciaria)
by which a state (civitas) has its autonomy, that is, by which it forms and preserves
itself in accordance with laws of freedom. A state's well being consists in their be
ing united (salus reipublicae suprema lex est). By the well-being of a state must not
be understood the welfare of its citizens nor their happiness; for happiness can per
haps come to them more easily and as they would like it to in a state of nature (as
Rousseau asserts) or even under a despotic government. By the well-being of a
state is understood, instead, that condition in which its constitution conforms
most fully to principles of Right; it is that condition after which reason, by a cat
egorical imperative, makes it obligatory for us to strive.4
Contrary to appearances, this doesn't concern a thinking "of the state" in
the usual sense in which we understand the term. The "state" designates,
rather, the space necessary for the legislation that demands the imperative.
The imperative wouldn't be able to prescribe if the legislation were
given. That is to say, it couldn't prescribe what it prescribes if thi:: legisla
tion were given independently of itself; it couldn't prescribe if evil were in
s�ribed in this legality independent of it. We need to distinguish between
recognized evil, localized by a law that takes it into account as a fact, and
the evil disposition implicated in law by the imperative law. if evil were a
law of nature (we tend to view it this way when we confuse the ferocity of
an animal or the devastating force of a volcano with the cruelty of human
ity), the prescription of the good would be absurd, and futile. Besides, the
possibility of violating the law has to be imputed to us.s In the necessity of
this imputation, evil is incomprehensible. But this is why evil, as an .in
comprehensible possibility, is evil, whlclI is to say, free. If it were not free, it
would not be "evil." (But this does not mean that without any evil act
there would be no freedom, since freedom would then be confused with
free will; instead, it means that without the possibility of evil and so with- .
out a disposition toward it, there would be no freedom. Freedom isn't the
free choice between "good" and "evil" since, ultimately, for such a choice,
everything is good What freedom is remains as incomprehensible as evil it
self: at the very least, however, this means that freedom
. is addressed only to
a being disposed toward evil.)
As such, the imperative corresponds to radical evil, to the evil that
corrupts the very ground of maxims.6 That this evil is not that of a
"propensity" is evident in two respects: it doesn't originate in a natural in-
140 JUDGING
clination, and it doesn't correspond with a slip, with a deviation from the
maxim (in this case, the deviation would perhaps be no more than an error
and perhaps there would be no possibility of voluntary evil; here, however,
the will itself has to be radically corruptible). Evil is the corruption of the
ground of the mari� and a maxim thus corrupted is a maxim that is no
longer law making. Evil is not a contrary law; it is the disposition contrary
to the law, the il-Iegislative disposition.
And yet it is because the law is the law ofmaking the law (or of law
making) that it reveals of itself-and, in a certain way, in itself-the in
scription of this possibility. By definition, an ordinary law sets the "outlaw"
outside the law. Yet the law of the law includes the outlaw as the one to
whom it is necessarily addressed-the one to whom, in this sense, it is
abandoned, while its addressee is, in turn, abandoned to the entire rigor of
the law.? "Act in 'such a way . . . " only makes sense if it is addressed, not
only to one who is able to refrain from acting in such a way, but first and
foremost to one who, radically, in his or her very disposition, does not act
in such a way. The law prohibits the one to whom it is addressed from
obeying it from the outset, without stumbling. It is the law of freedom,
therefore, and this is why it takes the form of an imperative. This latter
isn't an expression derived from the law, its mouthpiece, as it were. As the
imperative, it is or makes the law.
The imperative law thus differs from right. Right never says ''Act!'' It
articulates a rule and asks that a particular case be submitted to it;8 as such,
however, it does not command. Or, more exactly, it commands to the ex
tent that it is recognized as right, to the extent that it has the force of a law,
which presupposes the parceling out of a scope proper to law as such (col
lectivity, state, church, etc.). Here, though, we are dealing with the law of
all reasonable beings, all beings capable oflaw. The imperative states-but
is this still a matter of "stating" or of "saying"? And if so, in what sense?
the law's case, absolutely.
And yet, for all that, it is not an order. As with right, it differs from
the orders with which our sensibility continually confuses it. At the very
least, it differs if we understand the order as Canetti, for example, under
stands it: as the gesture or relation whose most primitive form would be
that of the threat of death that guides the fleeing deer. In fact, it could be
that every human exercise of the order arises from such a menacing com-
- � �, � . ."-. ":"',�-:•.. , ::.. ,,�.. : :� .:...:.- - : :.. ::..- , ;" ,.
mandment. But the imperative contains neither threat nor promise. In
deed, its essence lies in the fact that it contains neither. Such is the sense of
obedience out of duty, as opposed to an execution that only conforms to
duty. To obey because of duty is to obey in the interests of duty itself alone,
which is what has no interest. Moreover, duty obliges us to nothing other
than duty itself, whereas the order requires its being carried out. (Do we re
ally need to be i:eminded of the fact that, for Kant, this' has nothing to do
with a morality that is satisfied with good intentions, with a morality ex
empt from doing everything possible in order to carry out its duty?)
Duty obliges us to duty. In other words, it prescribes the legislative
act, and this act, by itself, has no option but to obligate itselfto the univer
sality of the law, since it is obligated to a universality which is precisely not
the universality of the particular contents of the law but that of its legality
or, more exactly still, that of the being-law of the law. The law of duty
obliges us to the duty of the law, this law that is not given.
Hence, although the law lies outside of the realm of orders, it does
not lie outside that of duty. The former is limited to the application of a
law with which it cannot, by itself, identify. On the contrary, it presup
poses that such a law is known, whatever it might be (for example, the law
of the strongest . . . ) . In the same way, and for the same reason, the order
isn't identified with the utterance of the law, and the act of ordering can
generally do without speech: "The order is older than language, otherwise
dogs would not be able to understand it."9 On the other hand, it makes no
sense to imagine the imperative as other than being uttered.10 The imper
ative is only a verbal or discursive form. Duty is not a mode of being-at
least not in the classical sense of the term-but a mode of language-al
though perhaps in a radically new sense. What I have to do can be pre
sented nonlinguistically; thefact that I have to do it can only ever be said.
Ultimately, moreover, the fact that I have to do it can only be said to me.
'�ct . . . " This has to be addressed to me.
The duty of the law is no more a duty of love than it is an order:
"There is no feeling of duty, although there is, indeed, a feeling from the
representation �f our duty, for the latter is a necessitation through the cat
egorical moral imperative. Duty of compulsion not duty oflove."ll Indeed:
"One can demand of man that he do what. the law commands of him, but
not that he do it voluntarily."12 If duty depended on seduction, it would no
longer be duty, strictly speaking, but would possess a power whose effect
would be a matter of what Kant calls the "pathological." In this respect,
such an effect could no longer distinguish duty from the threatening order.
142 JUDGING
When Kant writes that "in man there dwells an active principle . . .
accompanying him not as soul . . . but as spirit, one that . . . commands
. him irresistibly according to the law of moral practical reason"13 he means
that the imperative does not exi.st in the psychic substance known to us
only phenomenologically (and so never really as substance), but only in this
Gemiit whose main job is to be the unity of transcendental constitution.
The imperative does not belong to the nature of the subject; rather, it be
longs to what, although resembling a subject, exceeds, in the strongest
sense of the term, its subject status: it belongs to reason's condition of pos
sibility, to the condition of possibility of a reason that is itself practical.
More precisely: a reason that is practical in and ofitself. Not, however, in
that it shows itself to be such (it does not "reveal" itself); rather, this prac
ticality happens to it as a fact, as the factum rationis of which it is not the
subject. (This fact has no subject; it is not a subject).
The imperative provides the conditions of possibility for praxis or is
itself the transcendental of praxi�. As elsewhere, yet here, perhaps, more ·
than anywhere else, this transcendental indicates nontranscendence. The
principle of praxis isn't a transcendent reality; rather, it consists in reason's
being practical in and of itself or in the a priori practical condition of rea
sonable beings as such. For Kant (who turns back, in this respect, to the
Aristotelian tradition), praxis isn't in the first instance the order of actions
insofar as they demand submission to evaluations and norms; rather, it is
the order of action itself insofar as it imposes itself as the order of reason
and insofar as it imposes praxis, that is, action whose result is not distinct
from the agent (unlike-or :;1S opposed to-poiesis, which produces a dis
tinct result). Or, ifyou prefer, the stakes are not primarily the rationalizing
of action but the discovery that reason as such, as pure .reason, has to act.
To act as pure reason means to make law. Such is the duty of reason. On
this account, and for the first time in its history, reason no longer consists
in a given rationality in terms of which acts have to be measured; rather, as
pure practical reason it is identical with the a priori duty of being-that is,
of acting out-what it is: pure practical reason.
No doubt pure reason is not only an expression that is foreign to our
sensibility but one whose concepts need to be submitted-perhaps more
than any other concepts-to critique or to the deconstruction of meta
physics. Yet it could well be that a new task announces itself thus: the task
of thinking "pure reason" in terms ofits being-practical, in terms ofthe duty
that constitutes or enjoins it.
If the imperative is not an order in the aforementioned sense, it nev

ertheless prescribes effectively. That is, even before giving instruction rela
tive to the modality of action,14 it prescribes action; it obliges us to act.
This means that the action is not just an empirically determined contin- .
gency but something that possesses an unconditional necessity. In all hy
pothetical (or technical) imperatives, action is a means submitted to the
condition of an end. By contrast, the categorical imperative makes action
an end-not in the activist sense of "acting for the sake of acting," but in
the sense that the action that holds here as an end is the unconditioned (or
free) action of pure reason. Since this end is unconditioned, however, it
cannot be presented as a necessity derived from a prior law-from the law
of nature, for example. This is why freedom is not, as in Hegel, reason or
the rationality of reason, and why it does not constitute an end in the sense
of a telos programmed by an arche. Free action as end is never anything
more than a beginning, an initiative or an initial move without any end
(and, as we know, Kant defines freedom as the power of beginning some
thingJrom out of oneself). What's more, freedom isn't prescribed in the
sense of having been pre-inscribed; it is enjoined. Reason or the rationality
of reason (engaging thus, perhaps, in its own deconstruction) takes places
at an injunction.
This injunction is both more and less than an order. It does not
threaten, does not force an action to be carried out-and the imperative as
such is deprived of all executive power. Equally, though, 'it imposes, it ap
plies, it joins to reason the prescription of a free action, a free legislatlon of
which nothing, not even its mere possibility, can be known by or revealed
to reason. The imperative injunction forces reason in the direction of what
exceeds it absolutely.
This is why the imperative "is impressed upon us [uns aufdringt] as a
synthetic a priori proposition that is not based on any intuition, either pure
or empirical."15 It imposes itself as a fact imposes itself, and it imposes it
self asfactum rationis. The factum rationis is not an empirical intuition: if it
were, it would submit the imperative -to a sensible condition. This, more
over, does not constitute an argument grounded on a moralistic disdain for
the sensible (nothing could be more foreign to Kant), but an argument
'
grounded on the condition that is thus imposed on an unco.nditioned in
junction. The factum is that the imperative doesn't depend on any fact.
Where would dutY lie, and where freedom, ifI have to act because, here or
144 JUDGING
there, in the other or in myself, I am obliged to encounter something in

the experience of action?
No more, however, is the factum rationis an intellectual intuition; it
occupies, in the synthetic a priori proposition that the imperative is, the
place of the a priori f�rms of pure intuition. It is, we might say, the space
time of pure practical reason. This perhaps means that it at least shares
with the a priori forms of pure intuition a position that is derivative rather
than originary, and that, for this very reason, it is a factum. 16 Its factuality
is not such that, in it, reason can present itself as the originary power of its
praxis; rather, its praxis enjoins it. And in this sense, its praxis is given to it,
just as objects are given to it in pure intuition. ("Intuition . . . only takes
place insofar as the object is given to us; but this in turn is possible only if
it affects the mind [ Gemut] in a certain way.") 17 The factum is the practical
mode of this a priori gift. The anteriority of this gift is irreducible and ex
ceeds absolutely every self-positing act of reason, every self-representation
and every self-mastery. It is also the practical mode of reason's being-af
Jected. The imperative affects reason. Yes, this does mean that it humiliates
reason (and might it not be precisely this that our sensibility is unable to
tolerate?), but what it means before all else is that it befalls reason from the
outside, as it were, from an outside that, although exceeding all passivity, is
far from being identical with activity (which, remember, is pre�cribed; ac
tivity is the end). The imperative is inactive; it is imperative. It exceeds any
relation between active and passive, between spontaneous and receptive.
Hence this excess reconstitutes neither an "originary intuition" nor
(for this would amount to the same thing) an originary act. The imperative
does not dialectically sublate the critical distinction between spontaneity
and receptivity or between subject and finitude. It is not, like Hegelian
ethos, the being-finite realizing the moral Idea by denying itself and thereby
raising itself to the level of subject (the subject of philosophy or of the
state). It is-or is given-differently.
In this difference-which, being absolute, is also not the Absolute
the imperative repeats this distinction: since it is the imperative, the imper
ative imposes the separation of a passivity (to which it is enjoined) from an
activity (which it enjoins). What it does not do, however, is impose this
separation as if it had produced it; rather, separation is imposed upon it,
and the imperative only imposes separation insofar as separation is im
posed upon it. Put differently: there is the imperative because this unsub
latable distinction is imposed.
Now, the factum rationis, far from corresponding to rationality as

a fact (posited, established, available), designates a factuality heteroge
neous to and incommensurable with the reason from the heart of
which, nonetheless, it emerges. This incommensurability measures us;
it obliges us.
What does it mean to be obliged? What does it mean to be enjoined?

This question, understood as an ontological question (one that perhaps re
peats and displaces the Heideggerian question of the ontico-ontological
difference and the Derridian question of diffirance), constitutes the hori
zon of this section of the present volume,18 a horizon that has not been
reached, much less surpassed. Still, we can at least indicate this-even if
this indication carries us beyond any question in the conventional sense of
this term (can a question, for instance, be transformed into an obligation?
This is not impossible; in any case, this problem belongs to the horizon of
.
our "questIon") .
We are obliged-reason is obliged-to respect the law. We are
obliged not by force of an authoritarian order but by force of a constitution
that is nevertheless neither a grounding nor an institution: "The restora
tion of the original predisposition to good in us is . . . the acquiring of a
lost incentive for good, for the incentive that consists in the respect for the
moral law we have never been able to 10se."19
We have been unable to lose respect, for the loss of respect would sig
nal the loss of any relation (albeit negative) to the law. Respect, even before
being qualified as "a feeling of reason" (an aspect that I do not want to con
sider here), forms the very relation to the law. The imperative cannot take
place without respect, and it is not the imperative as such, in isolation, that
gives the law (always providing that it is even possible for us to isolate it; if
a descriptive proposition can be posited separately, devoid of relation
"there is [or there is not] a universal law," for example-does this make
sense for an injunction alone . . . ?) . Without this relation, then, we could
speak neither of "good" nor of "evil. "
. Equally, it isn't out of respect for any particular law that respect as
such cannot be lost. I can indeed lose respect for all sorts of laws; they can
. become irrelevant to me; they can no longer oblige me; I might see no
harm in refusing to follow them. And if, moreover, I consider it to be
146 JUDGING
"good" not to follow them, it is beca�se I am bound by some other law.

Respect, however, binds me to the law of obligation itself: "Despite this fall
[into evil] , the injunction that we ought to become better men resounds
unabatedly in our sow,s. "20 Losing this respect would signal our submission
to another law, another obligation, one for which the good itself would be
the law of an absence of law or the law of a pure self-giving of the law. An
archy or absolute sovereignty oblige themselves; they are obliged to be
obliged. "It is prohibited to prohibit," for example (which, moreover, proves
that the imagination of May '68 had an acute sense of an imperative ethos).
The law of obligation is not a particular law; it is the law of the law, prior
to any legislation and more archaic than any legislative subject. It is,· para
doxically, the law of what has no law. "Nature" has laws, !'man" does not.
And he cannot lose respect.
We are obliged by and toward what obliges us, by and toward this
obligation's injunction. Not because s·uch an injunction has the power to
command us but because it is incommensurable with any power of con
straint or propensity. Ultimately, what we call the empirical proves nothing
more than this: the force of a constraint always ends up by resisting the re
spect for a higher obligation, for the true authority or for the authority of
truth, at least insofar as it manifests itself as a challenge to violence (which,
as we know all too well, doesn't mean that respect is something that sweeps
violence away; here, it is a matter of a "resistance of what does not resist
ethical resistance," as Levinas has it.)2! The price paid for this in time, lives,
dignity, is appalling. It is unstoppable. The protestation of respect thus
constitutes a dimension of experience without which, we would have no ex
perience of evil. Respect protests in the name ofwhat is incommensurable
about obligation, and the relation to this incommensurability constitutes
us, makes of us the factum rationis that obligates us. Yet this isn't to say that
we give ourselves over to the law, still less to say that we have to give our
selves as law (it's not through "humanity" that the law has to be deter
mined but vice versa, as we shall see).
Respect isn't addressed to a good, since the law doesn't prescribe the
appropriation of a good. The law prescribes the act oflegislating according
to the form of the law, that is, according to its universal form. Universality,
however, is not given. Neither its criterion nor its nature are given inas
much as the law is not decreed by my maxim. If they were, universality
would not be given but imposed; it would do violence to us rather than en
join us. The gift can be tied to the injunction, not to violence.
, , �. -" -- -',
:';'
" , , .
,- .�" ' '''' -- ,.__. • l.:'•. " ' � ...-:.:_ o..:....
. .:.-'-�.� __. �
Hence the moral law-the imperative-withdraws from the rational

law that exceeds it. The moral law prescribes universality and, with it, ra
tionality as a task and not as a good that has been assigned to it. Inversely,
the law decrees (this is even its only decree) that universality should not
consist in the establishment at the universal level of a singular will.22 The
task of the universal lies in an entirely different direction from its appro
priation through subjective particularity. The moral law is not only in ex
cess of what ought to be a rational subject, it also enjoins a beyond of sub
jectivity in general. The law traces a single trajectory-the trajectory of the
imperative-from this side of the subject to beyond it. (Which isn't to say
that it can't be my law; on the contrary, it has to be the law of my maxim.
It doesn't prescribe submission to the universal bu� prescribes that I mal{e
universal law. But this doubtless demands a singular status that is no longer
that of subjectivity.)
This is why respect is simultaneously admiration or veneration for
the law and the humiliation of the subject before it: the law enjoins the
subject, joining to it its fundamental inability to satisfy the law-which
disjoins it.23 Respect is the very alteration of the position and structure of
the subject; that is, the latter faces up to (but without being able to look
upon) or responds to (but without respondini4) the alterity of the law. This
alterity isn't the fact of some assignable other, whether a great Other or a
small one; even though it determines the being-other of every other. It is
the fact of reason, the fact that there .is a factuality or a facticity of the in
junction in reason to reason, the fact that reason's other is inscribed within
reason itself. This "in . . . to . . " provides the incommensurable structure
.
of the law: it is not a matter of the subject's giving -its -law to itself; rather,
in reason itself, an injunction is addressed to reason, from without, there
fore, from a doubly other outside that demands, addresses, and enjoins it.
Respect, then, is to the consideration of a good as the imperative is to

the self-legislation of the subject. And this is why the good that is in here
in play, since it still falls under the name of the Sovereign Good, needs to be
understood less in terms of the good than in terms of sovereignty: that is, ac
cording to a difference that is incommensurable with anything that could
be or make a "good."25 The Sovereign Good not only reduces to nothing
goods in general, it also consists in nothing other than this reduction to
nothing. This leaves no room for a more elevated sense of the good and
points instead to the immeasurable extremity of this elevation: das hiichste
148 JUDGING
Gut, the highest, supreme, or sovereign good, which, in fact, is no longer

measured in terms of "height" of any sort. The Sovereign Good is this ex
treme: not the "highest" good, in other words, but the excess of extremity
beyond all height and. measure. The Sovereign Good also, and perhaps ul
timately, means that we cannot measure its excess. And that, by the same to
ken, it obliges us:
What is it in us (we can ask ourselves) whereby we, beings ever dependent upon
narure through so many needs, are at the same time r;Used so far above these needs
by the idea of an original predisposition (in us) that we count them all as nothing,
and ourselves as unworthy ofexistence, ifwe cater to their satisfaction (though this
alone can make life worth desiring) in opposition to the law-a law by virrue of
which our reason commands us potendy, yet without making either promises or
threats?2G
Equally, the Sovereign Good cannot both exclude goods (or happi
ness) and require, as its very sovereignty, what can no longer be thought as
.
a "good," namely, being-obliged by the law. Kant writes:
This ultimate end of pure practical reason is the highest good, so far as this is pos
sible in the world, which good, however, is not merely to be sought in what nature
can provide; that is to say, in happiness (the greatest amount of pleasure). Instead,
it is to be sought in the supreme requirement, that is, the only condition under
which reason can award it to rational beings in the world and, of course, at the
same time in the ethical, law-abiding conduct of rational beings.27
Respect for the law concerns its sublimity: "The majesty of the moral
law (as of the law on Sinai) instils awe (not dread, which repels, nor charm,
which invites familiarity); and in this instance, since the ruler resides
within us, this respect, as of a subject toward his ruler, awakens a sense a/the
sublimity of our own destiny which enraptures us more than any beauty. "28
The feeling of the sublime in general (always assuming that it can be dis
tinguished from the feeling of the sublime involved in our destiny; in real
ity, there is only one sublime} is the feeling of the limit of our faculties. The
law exceeds absolutely the farthest limits of represenratio·n and measure
and, if it needs to be constructed, according to the second formulation of
the categorical imperative, in ter�s of the type of a universal law of nature,
it isn't in the sense of a phenomenal law but in the sense of a law of the
phenomena that does not itself appear in the phenomenal sense. In his
.... .- � ..... ... -
_7,,, _ _'I ...: .. ... .-' • .:::...
. �'; . :"_ ....... . ,';:
own copy of the Bible, next to Luke 17: 20: "the kingdom of God cometh
not with outward show," Kant wrote these words: "visible (form) ."29 The
feeling of the sublime is addressed to what exceeds form.
And yet the universal character of the law is not given as something
invisible. What exceeds form doesn't take on a superior or supersensible
form. Rather, it denotes the very formation of form; concealed in every
form that appears and delivered over to reason as a task.30 This task is en
joined because it can be neither represented nor taught in the manner of a
technical task. There is, no natural law of formation (in the same way that
life is untepresentable for us). There is simply the law oflegislating in this
absence of law; that is, there is the law of making an ethical world, of form
ing an ethical world-making it or forming it as ifthere could be a natural
one, in which we could live. So far as the formation of this ethical world
of this world under moral laws-is concerned, there is no law if not the
law of forming it.
Understood thus, the sublime character of the law indicates human
ity's "divine destination." But the "divine" doesn't name a subject (or a
project) oflaw. Granted, God is the legislator, but God exists because a cat
egorical imperative exists: "the idea of such a being . . . emerges from this
imperative and not the reverse."31 "God" isn't the God of nat�re-any
more than, for the same reason, He is the God of religion. No, "God" is
the divine destination of man insofar as this destination is enjoined by
him. "God" is not beyond representation. On the contrary, the beyond of
representation-the limit beyond which we cannot pass since, rather than
opening onto a limitlessness of form that would somehow lie beyond
form, it marks the end of form and of the world insofar as it exhausts or
withdraws' the very formation of form and of world-this beyond ofrep
resentation (and of the subject) makes the law. And the law destines to this
end in a manner that is both "divine" and "sublime."
This mode of destining is not a way of promising nor of fixing an end
or an accomplishment. Rather, it is a way of abandoning. Perhaps the cat
egorical imperative is only a transformation of tragic truth, a truth that
destiny has essentially abandoned. The law abandoned-to itself. What
haunts us, what has, haunted us ever since our loss of tragedy's representa
tion or since the imperative began to present us wi'th its irreducibility, is
this abandonment.32
Hen'ce there is a destination, an ultimate abandonment to the sense
of finitude. The sublime character of the law-which depends strictly on
150 JUDGING
its imperative nature-stems from the fact that it destines to the univer
sality, to the absolut�ly granq and to the incommensurable in finitude. On
the other hand, there can be no destination to an end thought as the ab
solute telos of the infinite development of a finite being.33
What still counts here is the beginning, then, the sending of the im
perative. The law is unsurpassable as the imperative law because it is not
the self-legislation of the subject. In the self-legislation of a substance,
which turns the substance into a subject-God, Nature, or Man-the law
sublates itself, conserves itself by suppressing itselfas a law into a submission
to its only freedom, a freedom that, moreover, it thus confers upon itself
Now, to this thought is joined the corollary of a (Christian and speculative)
con<;:eption of the law as slavery. By contrast, the imperative imposes the
law as the outermost, unrecoverable limit on the basis ofwhich the injunc
tion is addressed.
Hence the law is addressed to a freedom and not founded by it. Recip
rocally, freedom does not consist in obedience to its own law-to the law
proper to its nature-but in beginning from itself: it is an inaugural free
dom, therefore, prior to all law. And yet this freedom is, before anything
else, the recipient of the law. Here, there are always two "origins," neither
of which is recoverable and each of which seems, indefinitely and in turn,
to step over the other: the address of the la� and the free beginning. Put
differently, there are two "principles," neither of which responds strictly to
the status of a principle: the imperative and freedom. And everything un
folds as if the law prescribed to freedom the job of beginning this . side of
the law. And yet, it prescribes this to freedom, enjoins it to it, and this is
itself the ground of the imperative: there is an imperative because freedom
is the recipient and not the self-positing and self-legislative freedom of the
subject.
True, we could go with the opposite by invoking the well-known passage from the
Critique ofPractical Reason: freedom is the ratio essmdi of the moral law and the
moral law is the ratio cognoscendi of freedom. But does the expression ratio essmdi
actually indicate that freedom is, in some way, beyond the law, that it is the in
ventive power behind it, that it is nothing other than its autonomy, its self-posit
ing? In reality, it is nothing like this: freedom is the ratio essmdi of the moral law,
not as the condition of existence or manifestation, but as the condition of realiza
tion in the sense that a moral law addressed to a will not subject to the law would
•
be a contradiction.34
The imperative is essentially addressed to freedom. "The ground of

the possibility of categorical imperatives is this: that they refer to no other
property of choice (by which some purpose can be ascribed to it) than sim
ply to its freedom. "35 This means that the imperative is imperative because
it is addressed and because it belongs thus to a more general group of ad
dresses (interpellation, prayer, order, call, demand, exhortation, warning,
etc.), unless it defines a constant underlying this whole group, a constant
that is modified accordingly in various ways or able to take on different
tones. And what this also means is that the imperative is categorical be
cause it is addressed to a freedom and so cannot in advance submit the
maxim of that to the condition of an end.
What this ultimately means, then, is that freedom is essentially and
not accidentally or provisionally the addressee of the injunction. As such,
this freedom, which is not the self-position of the Subject, is no longer to
be seen as the free will of the individual subject. It concerns what, in the
individual, is not individual. And what is not individual---, but also not
"collective" as such-is the possibility of being "addressed" by the other,
from out of the alterity of the other (and not of being in some way ratified
by the sameness of the other); it is the possibility of being interpellated or,
even, according to the Greek sense of the term, of being categorized by the
other. Kategorein is to accuse, to speak the accusative truth about someone
and so to affirm, impute, and attribute. The imperative categ�rizes.its ad
dressee; it affirms the freedom of the addressee, imputes evil to it and in
tends or abandons it to the law. In this way, the imperative categorizes the
essence or nature of mal)., doing so in excess of every category, in excess of
what is proper to man.
To treat humanity as an end is to treat it as just such an address�e. It
is to avoid the conditional submission to any concept of man whatsoever,
but only to the injunction that is destined for him and that des tines him.
This injunction destines man to nothing but being such a destinee: one to
whom, in the finite space that he never exceeds, the kategorein of excess is
continually addressed.
Translated by lames Gilbert-Walsh and Simon Sparks
8
Lapsusjudicii
What happens when philosophy becomes juridical? What happens

when philosophy becomes juridical, not in the sense that it takes right as
one of its objects and assigns itself the task of a reflection or meditation on
it (although philosophy cannot legitimately neglt:ct this sort of work . . . ),
but in the sense that philosophy itself, as such, would be instituted, deter
mined, and presented according to the concept and in the form of a juridi
cal discourse and practice? In the sense, then, in which philosophy would
be legitimatedjuridically. What would be the stakes, the nature and the va
lidity of this operation, which goes beyond anything that we might term a
"philosophy of right"? What then of philosophy? What then of right?
Such questions might seem a little odd, but posed in terms of histor
ical figures, they could be stated thus: What would happen if Athens were
presented in Rome, and as Rome? That is to say, if Rome were only Rome
in order to be the very thing whose exclusion constitutes it? For Rome can
no doubt be seen as the substitution of right for philosophy; leaving aside
the officially recogni�ed history of philosophy, the history of its teaching
would be more than enough to make the case.
Posed in historical terms the question would therefore be: What hap
pens when, in Rome, philosophy passes into right?
It's no coincidence that the very philosophy that seeks to know itself
through its own history-namely, Hegelian science-sees, in the moment
of the Roman discourse on right (the corollary of which can be found in
philosophical skepticisffi-;--and so in what can scarcely be said to belong to
Lapsus judicii 153
philQSQphy), the very negativity Qf the Self, sQmething that needs to be un
[
derstQod here as negativity turned in uPQn itself and deprived Qf its dialec
tical richness: the Self knQWS "the lQSS Qf its essence" in "the equivQcal uni
I versal exclusiQn" and the "reciprocal dissQciation" Qf cQnsciQusness that
i
I right designates by the "disdainful expressiQn" persons (Person in Hegel's
l text, the German ' renderihg Qf the Latin persona: mask and anQnymity).!
The Latin cQncept (the Etruscan wQrd) persona prQvides the strange figure
that undQes the figure Qr the Gestalt-the fQrm and the CQntent-of the
Sel£ AlthQugh the Life Qf the CQncept, here as elsewhere, is sublated, the
"state Qf right" is still a pure Qr, rather, whQlly impure lQSS Qf substance and
cQnsciousness. Spirit-philQsQphy-passes it by rather than passing
through it.
Yet in the run up to. Hegelian science, RQme had already repeated it
sel£ PhilQSQphy had already becQme juridical. It had already becQme so.
with Kant. So. CQmmQn has this currency become (with and since Hegel),
that it's sQmetimes even said that, with Kant, philQSQphy becQmes legal
ism, an entirely fQrmal, fQrmalist, and procedural discQurse. FQr a while,
Kant WQuld have been the Chicanneau Qf philQsQphf-and fQr many he
still is. Ih philQSQphy, it's Kant who. prQmpts the questiQn: What happens
when philQSQphy becQmes juridical, when it's articulate'd as jurisdictiQn?
The questiQn is a dQuble Qne, therefQre, and dQubly heterogeneQus.
If philQsophy is Greek, it's the Latin questiQn Qf philQSQphy; ifRQme is the
dissQlution Qf philQSQphy, it's the philosophical questiQn QfRQine. I want to.
try to. broach this questiQn by explaining as briefly as PQssible this recipro
cal implicatiQn, even if my explanatiQn will have to. take the fQrm Qf an as
sertiQn rather than an argument. To. the extent that it will ever be PQssible
to. justify this SQrt Qf assertiQn, that's sQmething that will have to. be dQne
later Qn by examining the Kantian QperatiQn in and Qf itsel£
If the RQman discQurse Qn right is substituted for philoSQphy Qr im
PQses its mask uPQn it, then this is perhaps because it's in RQme, and Qn
the basis Qf this, that metaphysics sets abQut declaring itself by right. Inti
�ately tied up with the specifically Greek discQurse Qf metaphysics, there
fQre, WQuld be a Latin discQurse:3 juridical discQurse. (Of CQurse, we would
need to. cQmplicate matters still further by addressJng the fact that "dis
cQurse" itself is a Latin CQncept, but we must take Qne Qr two. shQrtcuts
here.) Befalling logos bQth from within and withQut, "within" as "withQut;"
Latin jurisdictiQn WQuld say sQmething quite different. Precisely by way Qf
this substitutiQn, hQwever, Latin jurisdictiQn hQlds its ground and affirms
154 JUDGING
its right: no jus without ratio. As such, it has (always?) already been claimed
by logos. And, to the extent that logos must pass into its own history, logos
itselfis articulated by it.
But what is juridical discourse? In the Latin world-or, as we saw
earlier, here and now,' hie et nuna-the very notion of "juridical discourse"
borders on tautology. (Almost inevitably, we will repeat some well-known
facts here.) Jurisdiction is the fact of saying right. Such saying is inherent to
right-just as, reciprocally, right has to be inherent to its saying, to its be
ing said, if an element of a code is going to be determined for language and
if the statements formed within it are going to be just or even judicious;
such, indeed, is the logical duty, office, and right of "saying" . . . The basic
entanglement of speech (and language in particular) with right constitutes
Latin discourse. Discourse--in the language of the sixteenth century, both
statement and reason-takes the place of logos through the coupling ofjus
and dictio, in the twin production of the judicial and the judicious.
Hence dictio, by itself, in some way comprises a judgment even be
for� it's actually formulated. Dicere means to show and, in order to be able
to show, to discern or to fix, to establish and to point the finger at what
ever it is that is being determined (indicere). Latin saying operates by judg
ing; it is constitutively judicial: causam dicere is to establish and to show the
cause, to plead. From this point on, discourse only shows things by plead
ing their cause; and such is the program that it falls to Kant to carry out.
Jurisdiction is not added to jus. At most it explains it, but only as a

last resort does it establish it. In itself, we might say, if we wanted to resort
to a more Hegelian vocabulary (as if that wasn't precisely what's irrelevant
here), jus is doubtless not a word; it is the "area [laire] of the action or the
maximum claim resulting from the natural definition or conventional sta
tus of an individual or a group."4 Yet this area needs ipso facto to be "de
fined, in each case, extremely precisely." Equally, "the explicit articulation
of everyjus, the formula that articulates its limits and, within these limits,
secures it, is essential." Yet the form of this (other) determination of logos
is not the idea (or the concept), but theformula, the "minor form." Formula
is itself a juridical term. It is the mise en forme needed in order to engage an
action that conforms to the terms of right. To formulate, to articulate, is to
ratify in accordance with right. In itself and for itself, however, right exists
only through and as formulation.
Essentially, then, jus is articulated as a subject, but as a subject that is
Lapsus judicii 155
less substance {rather, and as Hegel points out, this is what it loses} than a
power (an ability, will, desire, potential, faculty-always, though, in terms
of right) of "action" and "daim"; a subject that shows itselfless through its
presence (its figure, what is proper to it, its Gestalt) than through the con
. tours of the area that defines its figure and its identity: the outline of the
persona. This (juridical) person, this persona, is still one who formulates,
assuming that we can indeed map onto its Etruscan origin (which carries
the sense of "mask") the popular etymology of the word: the mask per
sonat, it ainplifies the voice and lets it be heard from afar. (The subject of)
right is the one the power of whose voice (or, more precisely, whose mega
phone, whose artificial voice) establishes and circumscribes propriety. This
power itself is artificial and theatrical: (the subjeq of) right is estab
lished-or stated-on a nothingness of being and nature.
What is stated by the judge,-judex, one invested with jurisdiction
is the formula that says or makes right by setting out the relation of the law
to the case hic et nunc in question. The fact that enunciation [le dire] is in
herent to right corresponds to a specific status that I'd sum up in the fol
lowing way: casuality constitutes the essence of right; casuistry, the essence
of jurisdiction. Casus denotes the fall-the fall in or through chance,
through contingency, the fall according to opportunity (an opportunity that
constitutes the judge as much as the criminal); the fall, then, as accident.
The "essence" of right stems from the singular relation of accident to
essence. Dejure, the law ought to be the universal code whose very defini
tion implies the annulment or the reabsorption of any accident. De facto
(but this fact is itself constitutive of right, is itself the very fact ofjuris-dic
tion), cases ought to be referred and legitimated case by case. This neces
sity doesn't stem from the, pure and simple accident of an indefinite diver-
. sity of empirical conditions (of per;onal situations) that would always
overflow the inevitable limitation (itself entirely empirical) of the various
forms of right. Here, it is a matter of the necessity of the accidental. Or
rather (since what's doubtless involved here is a certain aporetic relation of
metaphysical necessity to the empirical, to the factual, to the actual or the:
evidential as such), the juridical order is the order instituted through the
formal-:-in every sense of the term-taking into account of the accident
.
itself, without ever conceiving its necessity.
Jurisdiction is articulated around a double structure, therefore. On
the one hand, it states the right �f the case, thereby making it a case: it sub
sumes it, suppresses its accidental character; picks it up [releve] after its fall;
156 JUDGING
sublative (aufhebend) jurisdiction proceeds thus in the same way as the

Concept of Hegelian science. On the other hand, though, it states the right
o/this case and so states right itself through this case: in a sense, right exists
through the case alon�, through its accidental character; even if the case is
settled [case] and domesticated (casa, house, has nothing to do with casus),
it has to fall down once it is picked up or sublated. The logic of the case is
one of falling or sliding in on itself, a logic of falling back. In terms of the
model established by right, the case, even the case that has already been
judged, is always lapse and relapse. And it carries, too, as I shall want to
show, the other Latin name for a fall: lapsus.
The Latin discourse of philosophy would be a way of taking the �c
cid�nt as such into account: therefore, never completely Greek (logical);
never completely German (speculative). Kant's predilection for Latin seems
less and less an accident .
. Since the case is not only unforeseen but has to be so, and since right
is given as the case of its own utterance, so juridical discourse shows itself
to be the true discourse of fiction. The prominent part played by the no-
, tion of "juridical fiction" in and since the Roman discourse on right is well
known, and I don't want to deal with it here. It should be enough to indi
cate the three registers on which this notion can be invoked: first, the aca
demic exercise, in which the treatment of fictitious cases (possible cases, in
other words, however counterfactual and improbable they may be: any
thing can happen) forms the handling of jurisdiction; then, the constitu
tion as a juridical cmeof a reality that is in itself concealed (the creation, if
you like, of a reality of pure signs); finally, the action of the so-called ficti
tious Roman discourse on right through which the law is extended to a case
to which it does not' actually apply (the illegitimate extension of the legiti
macy of a sign). According to this summary division, fiction would repre
. serit little more than a certain number of typical cases in the exercise of
right. In order to produce them, however, right will have to have the
generic ability of fiction.
In fact, the relation of law to case-the relation of jurisdiction
means that no case is a law and that a case only fo.lls under the law once the
law speaks of it. The accident-what happens-has to be struck by the
seal of the law (of its utterapce) in order to be not simply judged but con-
" n - -,-' _�."" >��_'_" "" � : " '''''' ' ' ' . ' � � ' ' � ' ' ' ' " _ _ _ ' �, '�" , . , ;_,_ . . . ... -' , .� . ...
Lapsus judicii 157
stituted as an instance or case of right, modeled or sculpted (fictum) in

terms of right. Juris-diction is or makes up juris-fiction. Law and case come
. before right only if they are modeled, shaped, fashioned-fictioned-in
and through one another. The implications of this necessity are quite rad
ical, however: the installation or inauguration of right must of itself be fic
tioned. Jurisdiction as such needs to be uttered: the "Praetorian Edict" was
the yearly manifesto formulating the principles for right saying. Right re
peats its installation with the investiture of each person who receives or
takes the right to state it.5 The persona ofthe judge and his edictum are
forged from the same fictitious gesture: right is said here of the case for
which there can be no prior right, and which is the case of right. (When
Hadrian laid down a "perpetual edict," there was no longer the fiction of
judging: in fact, every installation of right would henceforth be handed
over to the state . . . )
Now, although we can hear the fiction in Latin discourse, this has� in
principle, nothing to do with the values that are normally associated with
that word-the mixed values of the Greek poiesis, mimesis, and phantasia,
which come together in German Dichtung. Dichtung makes up a world; by
definition, it excludes anything like a causal or accidental "structure"-just
like the world of metaphysical theoria. If poetry fictions, it does so as a the
ory: a vision that produces visions. · By contrast, (juridical) fiction works
with a world, with the accidental, eventful actuality of a "worldness" that
the law neither produces nor sublates. If anything and everything can hap
pen in Dichtung, that's because it produces the unlimited field of its own
production; if anything and everything can happen for right, it is because
there's always something that exceeds the limits of its spaces. Fiction always
shapes the meeting of the universal and the particular, of necessity· and
contingency, doing so in such a way that what is shaped carries the indeli
ble mark of the case, a situation that stands in sharp distinction to Hegelian
synthesis, where the mark is always already led toward the dialectical era
sure of each one of its distinctive traits, right up to its complete resolution
'
in the Concept, beyond any figure. The figure (which, like fictio, comes
fromfingo) can in no way move past or be surpassed; it constitutes the spe
cific order of the persona, the formula, and the dictio. By saying right, the
judex always says at the same time that the reality of the case is included in
law and that saying it fictions or figures the very "being" of the case. In
deed, we might well be forgiven for saying that the juridical order essen
tially arises from a "cynicism" of fiction, from a "bare-faced lie." We pro-
158 JUDGING
ceed as if(and the Greek word for fiction, remember, is hypokrisis), this be
ing one of the central motifs that Kant introduces into philosophy.
The poetic operation-at least in the way that it's thought by meta
physicS-consists in a piitting to work (energeia) of sense. Its very princi
ple dictates that it involve the resolution of figures, that is, the signs of
sense-or,what amounts to much the same thing, the creation of a pure
and autonomous sense beyond all signs. "Veritas nullo egeat signo,"6 de
clares Spinoza, and, in this regard, Leibniz, Hegel, and Mallarme all stub
bornly insist on the same sort of poetry (poetry itself). This is the au
tonomous operation (and, in Greek, autonomy is what gives itself its law)
par excellence, and it presupposes the sovereign autonomy of its subject.
. The juridical act-it scarcely merits the name "operation"7-forms
or figures a fact whose essence or whose own sense falls, on principle, out
side of this form. It deliberately institutes the break between the sign and
the thing; more accutately, it is the act of this break or this breaking, and
it is so first of all insofar as its agent fictions or fashions him or herself into
the person of the right to utter right.
It's tempting to conclude that, beca1,lse of this self-saying, this "auto
diction" (but can we actually speak Greek and Latin at the same time?), the
judex is equivalent to the poet and so to the theoretician. Indeed, we might
well say, a little more precisely, that the juridical person figures what hap
pens-accidit-to the subject of the poem (or) of knowledge, even to the
extent that this subject wants to be and thinks itself accordingly as the ab
solute origin and propriety of an absolute right: that of creation or of truth;
·of a right, in other words, whose "area of action or claim" would be total,
unlimited, always escaping the limiting, localizing conditions of right.s
Right always proceeds from a delimitation to a localization, that is, by way
of a dislocation. The subject undergoes a dislocation; this is the limit of its
own figure. The accident that affects it or the occasion that befalls it is the
case of the absolute subject itself. Jurisdiction implies that the origin is a
case or that the inaugural gesture of right involves an "area" and thus a de
limitation, thereby contravening the logic of the subject. The .loss of the
substance of the Self is · equivalent to the de-finition of the person; to fini
tude, in other words. In much the same way, the person is neither the sub
ject nor the seat of right, unless the magistrate, on the basis of the particu
lar case, concedes the judicial action: not jus in personam, therefore, but
aCtio in personam.9
The juridical person is determined by way of the accidental, the fic-
Lapsus judicii 159
tional, and (so) by way of finitude. This is why such a person is the precise
opposite of the subject. 10 And this is also why its determinations are gath
ered in that of the "subject" o/the statement. (We've already seen that since
right is what is said, the subject is only ever going to be the subject of what
is stated.) The person is the one who states-whether on the level of accu
sation, defense, or sentence-and who states him- or herself thus; yet he or
she does so in such a way that this "self" is not a substantial identity, not a
"personality" per se; rather, it is the'judgmentof the person.
With judgment, right brings us back into the sphere of philosophy.

Or, rather, at the same time that right was busy being substituted for phi
losophy, philosophy had already begun discreetly to saddle it with a prob
lem taken from Greek discourse.
Judgment-logical or philosophical statements as well as jutidical
ones-is distinct from the concept. The subject of conception is the phys
ical or metaphysical, poetic or theoretical subject; the subject always con
ceives the thing and, by conceiving of it, thereby conceives itself Rather
than signifying the thing, however, the subject engenders or produces it,
and if it does "see" it (in the sens'e of theoria), it is still, as Aristotle says, in
the sense that light produces colors.
Greek discourse has no real term for judgment. As we shall see, the
judicium-the juridical word, the term of jurisdiction-might well pass for
the Latin philosopheme par excellence. Its Greek precursor is krisis, a, no
tion that is more "practical" than "theoretical," denoting discernment,
choice, and decision, with connotations that are always more moral and
political (or technical, and medical in particular) than they are properly
gnoseological.
Now,_ krisis only becomes a gnoseological notion-even to the point
of determining the "gnoseological" as a whole-with the Stoic theory of
the sign. The kriterion is the distinctive sign, the mark or the imprint that
actually corresponds to the character of the thing. The thing isn't given or
produced in or through the subject; rather, it is known through its crite
rion, through those criteria that mark it out, distinguish it, and thereby
make it known. This is the phantasia kataleptike, t�e "comprehensive rep
resentation." Yet we still need to gain or to recognize this criterion itself; we
still need to avoid mistaki�g it, under the effects of a pathos, by reading the
signs incorrectly and so by running it together with phantasids evil double,
phantasma. What we have to do, therefore, is krinein, to discern correctly
160 JUDGING
the signs specific to it (its idioms). Three things emerge with the theory of
the sign. First, the pathological possibility of error; that is, the possibility
that the accident might actually happen to knowledge rather than simply.
as a lack ofit. Second, .the role of the decision (of a gesture "over and above"
the logos) concerning the precision of the sign. Third, the role of the state
ment, at least as the attribution or predication that relates the sign to the
thing.
The decision that is stated in order (in principle) to separate out logos
from any sense ofpathos will be transcribed by the judicium. It is right that
prepares the concept for the absence of conception-or for unnatural or
nongenerative conception. The "concept" furnished by the sign isn't the
opening of the thing itself but the imposition of its idiom, won against the
danger or the risk of a fall into phantasy-a victory that always needs to be
gained and thus a risk that always needs to be run. Uncertainty is consti
tutive of judgment, since its job of adjustment needs to be understood as
essentially a division: "Judgment is an expression offinitude and, from this
point of view, things are said to be finite, because they consist in a judg
ment, because their being present and their universal nature (their body
and their soul), though certainly united (were this not the case, the things
would be nothing), are still elements that are already different enough to
be separable."1l
The judicium, then, will be determined----:through the Augustinian
tradition and the interpretation of the figures of Scripture (an interpreta
tion that, in turn, has Stoic origins)-as the specific part of an apprecia
tion, of an estimation that, in order to be ultimately certain of its result,
will have to be no less changeable and personal in the manner of its estab
lishment. Through scholasticism and the critica (the part of the dialectica
that treats ofjudgment), the judicium will be determined as the intellectual
act of a compositio as opposed to the intelligentia indivisibilium that prop
erly comprises conception. Compositio implies first and foremost assem
blage, fashioning, fiction; krisis always involves a hypokrisis; 12 then (but this
is one and the same thing) it implies the position or the imposition of the
sign for the thing .figured thus, the investiture through the sign and con
ferred by the sign of the right to say the thing.
The order of judgment is made up of the multiple, the uncertain,
and the unequal. Opus incertum, as we say in Latin to designate architec
tonic works built of irregular stone. Since the order of construction isn't
given in advance by the materials used, we're going to have to judge the
� -----� ----�-------
Lapsus judicii 161
possibilities of adjusting them ourselves. Judicial work is essentially an opus

incertum. And Kant's notion of critique, constructed as it is on judgment,
is opus philosophicum incertum par excellence.
The judicium is always unequal; more accurately, it is "founded" on
inequality. If ratio is unequal for each and every one of us, then judgment
is going to vary from one person to the next.13 Descartes's Discourse on
Method opens onto this shared division, installing a hitherto unknown
metaphysical rule of truth as certainty-of truth as a subject's own state
ment of its own substance and of this substance as itselfconstituted by the
statement ofthe ego. The opus incertum is at work well before Kant appears
on the scene, from the time of certitudo, therefore. What happens to logos
can be seen from the Logique of Port-Royal (" . . . or the art of thinking,"
remember): it becomes entirely a logic ofjudgment, of its fragility, ofits er
rors, of its education and rectification, in short, of its misconception. The
entire treatise of reason becomes a review of its case, an enterprise designed
to correct lapsus judicii. An enterprise dejure infinite, therefore, since the
lapsus belongs structurally (if not essentially) to the judicium-and judg
ment henceforth qualifies the essential nature of man. Hence this, from
the first discourse of the Logique of Port-Royal: "Our principal concern
should be to form our judgements. . . . That men have little love for truth
means that most of the time they make little effort to distinguish what is
true from what is false." Through the history of judgment, right has in
some way given back what it has taken from metaphysics. It has given back
ratio--the reason that henceforth needs to be referred back to the separa
tion of signs and the composition of figures-and the judicium, the
masked statement of the law of its fiction and of the limits of its validity.
Hence, the Latin discourse of philosophy
. comes into its own: Kant
opens the tribunal of reason.
This expression needs to be understood literally. As we know, there

can be no question of seeking metaphoricalvalues in the judicial apparatus
with which Kant fits out his discourse. Quite the contrary. Indeed, despite
the fact that the notion of a "tribunal of reason" is still often seen as little
more than a discursive ornament, it ought not to be seen as a mere figure;
instead, we need to see it as the very conceptuality that kant puts into play.
And if we can't avoid thinking here in terms of figures, this will have to be
in the sense that the entire discourse of metaphysics is determined accord
ing to the fictioning structure of Latin right.
162 JUDGING
Indeed, it is actually not the celebrated text concerning the "tribunal

of reason" that should occupy all our attention. It is mentioned here only
because this idea opens-both figures and formulates-the entire proce
dure of the Critique ofPure Reason.
The Preface to the first edition (1781) introduces the Critique by way
of a judicial history of reason. In its dogmatic age, metaphysics began as
despotic, before its internecine struggles cast it into anarchy (two forms of
illegitimacy, then); Locke's "physiology of the human understanding" was
thought to have put an end to all this, but once it was usurped (because
purely empirical) "metaphysics fell back into the same old worm-eaten
dogmatism" before drifting into indifferentism.14 Such indifference,
though, is "the effect not of the thoughtlessness of our age, but of its
ripened power of judgment," 15 and it is this that calls for us to have done
with illusory knowledge. This judgment, Kant writes, "demands that rea
son should take on anew the most difficult of all its tasks, namely, that of
self-knowledge, and to institute a court of justice, by which reason may se
cure its rightful claims while dismissing all its groundless pretensions, and
this not by mere decrees, but according to its own eternal and unchange
able laws."16 The history that Kant relates consists, accordingly, in rejecting
the models of power and nature in favor of the model of right. Right is nei
ther arche nor Phusis; it is essentially reason. Yet reason matured into old
age (and this maturity can't simply be seen as something natural) is itself
essentially judgment. In this instance, judgment comes before all else; it is
judgment that evokes the tribunal. And yet judgment isn't just a founding
or originary instance, but the belated and derivative product of the errors
of metaphysics. Now, it is in precisely this regard that the founding logos,
the logos that says "know thyself," submits to a radical conversion: its roots
are torn up and severed. Knowing ourselves becomes a matter of judging
ourselves; judging ourselves presupposes that we have at our disposal our
own "eternal and unchangeable laws." The problem, though, is that the
history of reason-and here, no doubt, the very fact that reason presents
itself as a history- belies the fact that these laws have only ever been given
within metaphysics. The tribunal can only put to work a sentence passed
according to these laws at the same time as it puts to work these laws them
selves. This judgment of judgments is the praetorian edict of metaphysics:
it says the right of the right to say. And yet, setting itself thus in the posi
tion of absolute praetor,17 reason is also touched by juridical casuality, in
two ways:
Lapsus judicii 163
1. Since it has to judge itself, reason is itself a casein the sense of a de
fault from, or a lack of, right;
2. To this extent, and to the extent that reason ought to draw right
from itself alone, its jurisdiction can only be "absolute" in the paradoxically
accidental institution of its tribunal: it arises from a history that is neither
natural nor metaphysical, from a history that, far from being regulated by
the growing richness of the Concept, seems, rather, to be deregulated by
the growing entropy of reason itself (a true History can only open out on
the basis of critique).
Rather than having an essence, therefore-which would involve
knowing itself-reason has an accident, which involves having to judge it
self Reason stumbles over its own case-the case of the judge.
Surely, as the Preface to the Critiques second edition points out, there
is a model for the tribunal, or at least a criterion according to which it is
possible to judge. The "secure course of a science" is signposted by mathe-'
matics, physics, and chemistry, and the job of critique lies in leading meta
physics down this route. However, the la� thus invoked doesn't make ju
risdiction as such obsolete.ls It doesn't found the tribunal but leaves it
the-infinite-task ofjustifjing itself. All of which can be shown schemat
ically in the following three motifs:
1. The mathematico-physical sciences are not and do not constitute
.metaphysics. Kantian philosophy isn't geared toward epistemology (a dis
course that aims merely to reproduce the rigor of scientific discourse).
Equally, it is entirely different from Cartesian mathesis, which, through the
"envelope" of "vulgar mathematics," denotes the universal science that
makes up their soul or their core. Instead, then, Kantian metaphysics is an
otherscience altogether, one that appeals to the established sciences as ana
logical models (in the Analogies of Experience, remember, the mathemat
ical analogy is able to provide no more than a model that is itselfanalogical
to the philosophical analogy charged with thinking the unity of experi
ence); The exemplary character of the sciences doesn't prevent them from
being heterogeneous to metaphysics. Analogism runs all the way through
this heterogeneity"':'-but this gesture is a fictioning one, not one of identi-
, fication. Kant has no real theory of knowledge; rather; he addresses theory
insofar as it is bereft of knowledge.
2. Reason doubtless sees itselfat work in the sciences. In this sense, it
has always already recognized itself; it has always mastered from the outset
its own ration'ality; hence it has no need to judge. 1 9 And yet the fact still re-
164 JlJDGING .
mainSthat these sciences are always going to be lacking in reason. This

isn't to say that, in order for them to be sciences, they need to see them
selves as founded by philosophy (this interpretation is the parallel double
error made by the neo-Kantians, on the one hand, and the "epistemo
logues," on the other, who commend or blame Kant for one and the same
bad reason).20 No, precisely the self-legislation of the sciences and the con
sistency proper to them qualify them as models; mathematics, especially,
finds itself qualified as the only adequate and autonomous presentation of
the object that can actually take place, a presentation that philosophy can
accordingly never hope to equal. The sciences lack reason because reason
as such cannot be found in them; from this point on, reason has to judge,
to decide as to its own rationality, both insofar as it isn't at work in the sci
ences and insofar as it is not, in itself, a science. This is the properlyjuridi
calsensf. (a sense that's nei�her foundational, nor explanatory, nor interpre
tative, nor justificatory, but all of these senses doubled . . . ) of the critical
question: How are synthetic a priori judgments possible? Given that, de
facto, there are such judgments, this is both the question of right and the
question raised by it. The famous Quidjuris? with which Kant opens the
Deduction in no way means that the sciences are going to be legitimated
(something of which they have no real need).21 Rather, it means that rea
son is going to be given a figure-from which it doubtless follows that rea
son doesn't actually have a figure, or that it has lost it, or that it has not yet
found the figure proper to it.
3. The analogical model that reason finds in the sciences-the model
on which it falls-is already that of the tribunal. What Thales, Galileo,
Toricelli, and Stahl (to recall merely the most celebrated page of the Pref
ace to the second edition) bring to light is the judicial figure of reason:
"Reason, in order to be taught by nature, must approach it with its princi
ples in one hand, according to which alone the agreement among appear
ances can count as law, and, in the other hand, the experiments thought
out in accordance with these principles . . . like �n appointed judge who
compels the witnesses to answer the questions he puts to them."22 As we
. can see, what's at stake here isn't the functioning of scientific laws as such,
but the gesture through which the "subject" of such laws is established
precisely insofar as this "subject" is not the subject of Cartesian meta
physics (a subject that is science) and so insofar as this "subject" is not ab
solutely but merely established by saying right.
The stakes of this jurisdiction are double:
Lapsus judicii . 165
1. It leads to a fictioning whose principle is furnished by the first of

these analogical models: the model of mathematics or, more precisely, . of
geometry, whose "shining example" finds a permanent place in the critical
enterprise.23 By "demonstrating the isosceles triangle," Thales in fact found
"that he had to produce this figure from what he himself thought into the
object and presented (through construction) according to a priori con
cepts."24 The construction ofthe figure thus forms the nexus of the legiti
macy that has to be assigned to reason. Yet it would be wrong to under
stand all this as a simple play on the word "figure" (unless the whole of
Kant's text is seen as a thoroughgoing play on this word); through . its
trace,25 through the tracing or the modeling of its "representation a priori,"
the geometrical figure as such provides what is needed by reason: the pre
sentation of the concept in intuition. Figuration is the basic prerequisite.
Equally, the triangle will still be the first model for the schema, thilt non
empirical figure charged with giving concepts their signification and so
with bringing judgment into play. Yet however nonempirical the figure of
the schema may be, it is still a figure: it is precisely not the intelligible prop
erty of an empirical image, and calling it a schema' involves no recourse to
"imagery." It is or forms the condition of a cognition that can only take
place with respect to the figural or whose right is coextensive with the out
line that models figures. Signification operates within a significtion (the
reunion, fashioned in and as a figure, of the concept of intuition). Signifi
cation makes jurisdiction; it assigns or it states (and does so first of all and
in each case by stating the very nonempirical possibility of statement) the
concept's area of legitimacy, the area that traces the sensible, phenomenal
condition of its figurability. In the Critique (in philosophy become juridi
cal), saying right is a matter of saying the area of the figure in general; of
phenomenal fiction (and phenomenal fiction is what replaces the poiesis
[or) mimesis of the "thing itself"). It is, then, to say the area as such and for
itself (to say the outline, the contour, the limes of and in reason); it is to say
the areality of the rational area. This jurisdiction says juris�diction itsel£
2. Yet the jurisdiction that needs to be e�tablished here is that of phi
losophy. Now, philosophy cannot hope to attain the pure and direct pre
sentation of mathematics, a presentation that is oJ?-ly possible because
mathematics doesn't involve the existence of things. The fact that philoso
phy, by contrast, has to deal with that existence-with its actuality and
multiplicity-would imply, in the first or last instance, that it could pres
ent the tothlity and unity of experience. This, indeed, is precisely what it
166 JUDGING
ought to do and what, in principle, it cannot, since reason isn't intuitus

originarius, that for which the production of the thing and the presentation
of it face on, as it were, are one and the same. Philosophy can never attain
the "demonstrative c.onstruction" of geometry, therefore, the pure a-real
ization (or figuration) in which intuition ·is isomorphic to and contempo
rary with the concept. Philosophy has to judge the legitimacy of the figure;
put differently: reason has to trace the area of its own right. This gesture is
indiscernible from the sovereign gesture of the absolute establishment of
. right in general (its foundation in being), or it would be were the condition
imposed on it not precisely that of the nonoriginary position of reason.
Reason is subject to the "a priori forms of sensibility," namely, rime and
space. Time itself, the a priori form of the subject, does not present itself;
it can only ever be figured by space ("because this inner intuition yields no
figure [ Gestalt] we also attempt to remedy this lack through analogies, and
represent the temporal sequence through a line"):26 these remarks, from the
Transcendental Aesthetic, which opens the Critique, sum up the whole
problem. They suggest that reason is subject in advance to the condition of
·
the figure; that reason cannot create its own limes, merely delimit itself
from within a limiting structure. As such, the ontology offinitude is en
gaged in this precise case: ontology falls under juris-diction.
All of which explains why the decisive moment of the Analytic is the
Transcendental Doctrine of Judgment. So far as judgment is concerned,
the Introduction ("On the Transcendental Power ofJudgment in General")
distinguishes transcendental logic from its merely formal aspect. Merely
formal or general logic "contains no precepts at all for the power of judg
ment,"27 since it deals with formal rules alone and not with their applica
tion to the content of cognition; it cannot, in other words, "distinguish
whether a case in concreto" belongs under them.28 The judgment of the
case, and hence judgment properly called, thus depends on "a special tal
ent that cannot be taught but only practiced." Defined as a "logic," judg
ment-and the judgment uttered by the person who judges-itself con
stitutes a case; it is neither necessary nor foreseeable, therefore, neither
programmable nor teachable. As such, it cannot be insured against acci
derit, against the errors of judgment that "a physician, a judge, or a states
man" (the practitioners of krisis) might easily make;29 in short, it is only by
chance (a word that comes from casus) that a case is properly judged.
Transcendental logic repairs this fault. It alone can "secure the power
of judgment in the use of the pure understanding through determinate
Lapsus j udicii 167
rules,"30 thereby defining and concentrating in itself the very task of phi
losophy. Philosophy cannot " expand the role of the understanding" (it can
not win territory or an area) but "as critique, in order to avoid errors of
judgment (lapsusjudicii) in the use of the few pure concepts of the under
standing that we have, philosophy with all of its perspicacity and art of
scrutiny is called up (even though its use is then only a negative one)."31
The role of the Critique, therefore, is to occupy the place of the foundation
.
of right; it is, in principle, charged with saying the right of right and of
sheltering jus from the casuality of its dictio.
Now, it is precisely thisfoundational operation that shows itselfto be the
juridical act par excellence: with this, we come before the tribunal itself, at
the very heart of critique as such. For this reason, as much as the jurisdic
tion of all jurisdiction disengages from all juridical statutes (as much as it
sets itself up as the site of privilege), with this same gesture it carves into it
self the infinite flaw that leads it to fall continually upon its own case. In
other words: since philosophy thinks itself says itself-in terms of right,
-
it inevitably thinks in a way that is structured around (or affected by) lap
susjudicii, by the slipping and falling that are an intrinsic part of the lack
of substance within which jurisdiction takes place.
By way of conclusion, let me simply try to address the first function
of this constitutive and permanent lapsus: the one that concerns the very
principle of critical jurisdiction.
Because of the claim that it makes (the rights that it assigns to itself),
transcendental logic is the faculty of indicating, beyond any rule, the a pri- .
ori case to which the rule can be applied. As such, it eliminates the casual
ity of the case and forges the contradictory
. notion of a jurisprudence that
owes nothing to experience.
And yet, although this operation will already have been carried out in
the Critique, it is not under the motif of jurisprudence, but under the ju
ridical concept of deduction.32 Now, for "jurisconsults," "deduction" is
proof that responds in a cause to the question Quidjuris? Deduction is the
establishment of right. Hence the transcendental deduction of the pure
concepts of the understanding ought to establish the right of reason in
every case. .
In fact, this is what it does, finally establishing that the understand
ing "is itself the legislation for nature."33 Sheltered thus from any external
limiting condition, the understanding, from the moment that it comes to
judge, ends up falling upon its own case, on the case of its investiture as
168 JUDGING
"legislator." If, in the schematism, judgment demands the reunion of intu

ition and concept, ifit demands figuration, that is simply because the very
subject of legislation is able to present itself (to itself) only as represented,
as figured, as a-realized in general. All cases are absorbed by right a priori;
here, though, the a prior4 right itself, is formed by the condition of sensi
bility-only in this way can it allow jurisprudence to take place. The a pri
ori is essentially dis-Iocative. Right consists in the statement of its subject's
areality. For this very reason, the subject is nothing more than the state
ment: I "am" right; I �'am" the limitation of my own statement. The right
of this subject refers to the figural, delimiting outline of signification in
general. This outline is the outline of a limit that is internal to itself, a fron
tier that falls within reason, the frontier between concept and intuition
(that is, between the concept and its conception). It is the outline, then,
that infinitely separates the subject of right from the whole of its interior
ity, that stamps it with its figure, and that subjects it to this figure by
sketching out its persona: in the case that says the right of every case, it is
the persona of the judge that speaks.
The end result of the Deduction is the unity of apperception (of the
. I) to which representations have to be related if they are going to constitute
a unitary experience and be capable of making sense. Here, right calls for
the condition sine qua non of its subject (the tribunal judges that there has
to be a judge presiding over it). Critique can only adequately meet this de
mand through the (re)presentation of a persona. In fact, Kant declares a
propos the transcendental consciousness thus evoked: "It matters little
whether this representation is clear or obscure; it is not even a matter of the
reality of this consciousness. Instead, it is a matter of the possibility of the
logical form of all consciousness necessarily resting on the relation to this
perception as to a faculty." I, the judge, is the fiction of a legislative figure
of the figure that fictions and traces areas in general.
We don't need to worry, then, about the lapsus of signification to
which the word areality lends itself To say the subject of right is to say it as
an area, as a limit, and as a figure. Equally, though, it is to say the modest
reality or the essential un-reality of the person who represents it, who
stages it or puts it into play. The transcendental unity of the judge that rea
son is lies in the saying of that person.
De jure, every step is taken to guarantee against lapsus judicii. De
.
facto-but this fact is itself the fact of right-the guarantee itself only ever
guarantees its figure or its fiction as guarantor. Moreover, the Critique will
Lapsus judicii 169
never be able to stop reason from abandoning itself de facto to the Trieb,
the impulse that leads it to judge outside the limits of experience and to
forge dangerous and dogmatic fictions (God, the self, the world) . Equally,
though, and by the same token, the irresistible character of the Trieb of rea
son will be recognized and stated by the tribunal itself, as the factual limit
of its own jurisdiction. The moral imperative alone will be capable' of mak
ing this impulse "see reason." Yet this "categorical" imperative, in which
the ultimate jurisdiction resides, can only ever offer itself up as afactum of
reason. The pure fact of a pure moral person will say the last rights of a fig
ured subject. It will say it as duty. The imperative says the duty of consti
tuting oneselfas a judge (of the universality of my maxim), even though
there's perhaps no case conforming to this judgment that could be pre
sented in experience. Yet it is precisely because no such case exists that we
have to judge in all cases. The imperative is factual; it takes the ·form of an
accident (of reason) because it is the only form that can be taken by an es
tablishment of right that is neither a foundation nor a self-foundation. The
imperative is illegitimate. Only thus does it make the law.
When philosophy becomes juridical, when it passes into right, its

judgments can only b� passed through the mouth of a person ceaselessly
falling prey to the same lapsus, this lapsus through which philosophy is re
vealed in its entirety (it reveals the cause, its cause, its thing, re.r-inoth
ing)-saying, in the way of all Latin discourse, fictio for dictio or dictio for
fictio, but always signific ting its right to say.
As we know all too well, right furnished the model and the ideology
of the bourgeois State. Yet it did so at the cost ofhypostasizing juris-diction,
of making it an Essence and a Sense. At the cost of forgetting or repressing
its "essential" lapsus. And it's hardly surprising, then, that the State engen
ders a sometimes open, always latent revolt over the right to say--the ulti
mate demand of the right to say the right ofwhat is by rights without right.
And yet, at the same time and place at which the State was born,
what also opened up was the resistance oh dislocation. In philosophy and
as philosophy, it is the resistance anticipated from Kant to Hegel. We've
doubtless not seen the back of it, although this doesn't mean that it's a mat
ter of waiting on some sort of a "return" to "juridical'reason." Reason has
doubtless not yet ·finished falling on its own case. Anything can happen.
170 JUDGING
Postscriptum
Jean-Fran<;:ois Lyotard has honored this essay with a generous note to
which I must return (and salute in passing the rare occurrence of a genuine
disputatio).34 Lyotard wants to break with the motif of "fictioning," which
'
in his view is indebted "to a problematics of founding or origin." That
Kant, in his account of judgment, dethrones the issue of origins "in favor
of the question of ends" I wholeheartedly agree (and let me refer here to
the text "The Free Voice of Man," written for and in the spirit of the col-
,
loquium The Ends ofMan).35 But it does not necessarily follow that theju
ridical fiction (which I was careful to distinguish from poetic fiction, i.e.,
Dichtung) has to play the part of the "substitute" or "proxy" for a dislo
cated origin (I would suggest, rather, perhaps provocatively, that there is an
origin, and it is this that comprises the dis-Iocation), and that it therefore
leads back surreptitiously to the general metaphysical thematics of origin.
On the one hand, we need to determine precisely the role of proxies
in general (here we might revisit Derrida's exploration of the logic of sup
plementarity). Does proxy "conjoin . . . the fragments of an origin,
. '
whether being or subject" or does it expose, qua proxy, attesting to its

proxy character, a fragmentation that it does not actually "conjoin"? (In
saying this, I confine myself to the Kantian version of supplementarity.) At
the same time, Kant's version strives to exorcise fragmentation: Kant does
everything he can to wish away the crisis that he himself opened, or that
opened itself before him. (Incidentally, I do not think thatKant can be di
vested' of his Enlightenment spirit to the degree that Lyotard believes he
can; the thing is to know which "Kant" we are talking about.) But then
and this is what we might call the Kantian slide of ontology-proxy in
scribes in being its own fragmentation, that is, its end or ends: the question
of ends, the end as a question, and maybe as what lies beyond questioning;
the end inscribed as the judgment of being.
This supposes, on the other hand, that we are never quite done with
being. Lyotard himself certrainly is not. He charts "passages among 'areas'
o f legitimacy" such as "language (which, if you like, is being minus the il
lusions) in the process of establishing various families of legitimacy, a criti
cal language, without rules." Language-which means, if I understand it
rightly, the differences between phrases-is defined "if you like" as "being
without illusion." That means that it is an illusion to speak of being, but
that speaking is being "without illusion." Lyotard stands at the hub of be-
Lapsus judicii 171
ing, of the naming of being. Who would not take that position? And how
to can illusion be determined, if not from an exact and adequate point of
_ view? Next, Lyotard underlines "in the process." This "in the process"
(with everything that it entails) is unmistakably, irresistibly, a proxy: he is
under way, he has not yet finished, nor has he yet begun, but instead, in
place of his, in the process . . . he is. But what is this place? Lyotard would
doubtless say that the question is illegitimate. Let's concede that he's right.
But what is it to be right? Ultimately, no "play of sentences" is going to de
cide or articulate that. If it isn't "being," then at least it is what happens,
factually, to being, the truth of an experience, the judgment of a history.
It's not "phrases" that are "right" (although there is no being "right" with
out "phrases"). Truth is not a phrase-and yet truth happens. That means
that truth is, while "being is not," as Heidegger points out.
But Lyotard basically knows all this-and that's what makes this
disputatio possible: the debate is regula�ed by a common concern (or a
shared imperative) that is both more and less than what our respective
"sentences" say. But this does not mean that these sentences are indiffer
ent or interchangeable.
Translated by Simon Sparks
. ... ' .. ,
Originary Ethics
There is a threefold difficulty involved in presenting Heidegger's

thinking about ethics, whose terms inevitably need to be set out, at least
briefly.
First of all, Heidegger's Nazi engagement, followed by his almost
complete silence about the camps, have marked him (even aside from any
properly political judgment) with a moral taint that many have seen as in
validating any ethical proposition on his part, if not the whole of his think
ing. It isn't my concern to analyze these particulars (and the case has al
ready been well investig�ted in the important work of Pierre Bourdieu,
Jiirgen Habermas, Jean-Pierre Faye, Otto Poggeler, Philippe Lacoue
Labarthe, Jacques Derrida, Gerard Granel, Nicole Parfait, Dominique Ja
nicaud, Richard Wolin, Hans Sluga, etc.). Instead, I want to restrict myself
to saying this: while it is certainly correct to infer from Heidegger's moral
error a certain style or a certain professional intellectual conduct (across all
his works), it is wrong to draw such an inference when what is at issue is
the logic by which his thinking sought to analyze what it is that constitutes
man as the being through whom being has as its original sense (or ethos), the
choice and conduct of existence. That this thinking wasn't equal to the
dignity ( Wiirde) which it took thus as its theme is some�ing that ought to
give rise to further thinking. But that is only possible if we take Heidegger's
thinking as our point of departure (not forgetting to ask ourselves about to
the precise ethical expectation to which his political engagement was in
tended to respond).
-:�..:.::
- :::;::�;;-;;:;:� :-��::;:",::�::;��:::;::::;::::;c::0.-;:;�:::::-::�:::��::;,:��
�
-- � � - � - .,,- -�� -�,
- �-:-� :�.�:--�" :..�:��::-:::
,� " -�� - �'.. , ':�'��
�
�
.: -' -'i':"�� -e-�"-='-'=��-'� ,,�-
'
-'. .-:- ,.. .. ,.:.�.--�-. - - ..
Originary Ethics 173
Second, over and above all this, there are those who think it's possi
ble to deny any ethical dimension to Heidegger's thinking, basing their
claims on his own objection to ethics as a "discipline," on the coi:respon- �
cling absence of a "moral philosophy" in his work, and on his refusal of any
moral interp�etation of the analytic of Dasein. Now, in order for the pres
ent essay to have any relevance whatsoever, we would need to begin by
demonstrating the falsity of this argument, and by reconstructing the pos
sibility of a properly ethical approach to Heidegger. However, not only is
there no space for this here, bur it can even be considered quite unneces
sary.1 Only those who have read Heidegger blindly, or not at all, could
think him a stranger to ethical preoccupations. Moreover, there are already
enough works in existence to refute this prejudice. It should be enough,
then, to spell out the following (which will be complemented by what I
have to say): there is no "morality" in Heidegger, if what is meant by that
is a body of principles and aims for conduct, fixed by authority or by
choice, whether collective or individual. In fact, however, there is no phi
losophy. that either provides or is itself a "morality" in this sense. It isn't
philosophy's job to prescribe norms or values: instead, it must think the
essence or the sense of what makes up action [l'agir] as such; it should
think, in other words, the essence or the sense of what puts action in the
position of having to choose norms or values. Perhaps, incidentally, this
understanding of philosophy is itself already l:Ieideggerian or, at least for
us, today, �necessarily Heideggerian in tone. Of course, this wouldn't pre
vent us from showing how appropriate it is to Spinoza or to Kant or to
Hegel or to Husserl, or prevent us from showing how, and doubtless for
specific historical reasons, it chimes with Heidegger's contemporaries (each
very different from the next) Bergson, Wittgenstein, or Levinas. All. of
which amounts to saying that, in general terms, there would be a case for
showing how, with Heidegger and wi;th Heidegger's period, philosophy
understood itself (once again) as "ethics" and not, let us quickly say, as
"knowledge," presupposing, in particular, a distinction between "ethics"
and "morality" inherited (if at times confusedly) by the whole of our own
time. But this isn't my concern here; rather, I want to sketch our an inter
nal interpretation [explication] of Heidegger himself, striving to be as faith
ful as possible while avoiding piety.
The third difficulty runs counter to the second. If, paradoxically,
ethics constitutes both a discreet and unobtrusive theme in Heidegger's
work and a constant preoccupation, an orientation in his thinking, then we
174 JUDGING
would · need to undertake a general examination of that thinking. We

would have to show the extent to which the "thinking of being"-which is,
after all, the main or even the exclusive title of Heidegger's thinking-is
nothing other than a thinking of what he called "original ethics," and that
it is so throughout, hi all its various developments. In particular, it would
not be difficult to show that the celebrated "turning" (the Kehre), charac
terized most succinctly in the words of the Beitrlige as a "passage from on
tology to ontology," basically corresponds to an accentuation, a reinforce
ment or a "folding" of the ethical motif. And this, we might suppose,
wasn't wholly unrelated to a reflection silently tensed and perturbed by the
National Socialist aberration. In much the same way that constraints of
space mean that we cannot defacto cover the whole of Heidegger's work,
then, so dejure there can be no isolation of a Heideggerian "moral philos
ophy." Instead, let me confine myself to addressing the basic intention of
the text in which the motif of "original ethics" is brought to light, namely,
the "Letter on 'Humanism.'" Linked to this will be some essential re
minders of what paved the way for this motif in Being and Time and Kant
and the Problem ofMetaphysics. As for the rest, suggestions will have to suf
fice (and by "the rest" I mean: 1. The thinking of freedom as an "un
grounded foundation"; 2. The thinking of language and poetry as a true
ethos; and 3. The thinking of "technology" as a retreat from moral fotmda
tions and the delivery of a differenr ethical demand.)
To sum up the situation, two overwhelming objections could be
raised: "Heidegger has a bad morality"; "Heidegger has no morality." These
are not so much ruled out here as reserved for a different sort of analysis.
Instead, the only kind of analysis that is appropriate here needs to take as
its theme Heidegger's thinking itself conceived of as a fundamental ethics.
The "Letter on 'Humanism'," announces itself forcefully and dis

tinctly, in its very first sentence, as a reflection on Handeln, action.2 It is
very clear that the question ofhumanism is, for Heidegger, the question of
what man is (of his humanitas) insofar as he has to act or to ('conduct him
selE" (Conduct or action, insofar as it is its own end, action that does not
"cause an effect,"3 seems to me an appropriate term with which to re;nder
the German Handeln as well as the Greek praxis, especially in the present
context.)
But what man is insofar as he has to act is not a specific aspect of his
being, but his very being itselE If Dasein-according to the opening for-
mulations of Being and Time-is the being for which, "in its very being,
that being is at issue for it,"4 it is because this "is at issue," this it s'agit de,
this es geht um, this "it is about," doesn't bring into play an interest that is
merely theoretical or speculative. Rather, it destroys the supposed auton
omy of.such an interest. If, in Dasein, it is being that is at issue [it s'agit de
l'hre] (and if, without playing on words more than language itself does, be
ing is a matter of action [l'etre est de t'agir]), it is because being, as the be
ing of Dasein, is what is at stake [limjeu] in its conduct, and its conduct is
the bringing into play [la mise en jeu] of being.
This point of departure-and more than that, this axiom or this
transcendental �bsolute of all thinking of being-could also be expressed
as follows: because the difference between being and beings is not a differ
ence of being (it is not the difference between two kinds of being) , it is not
a difference between two realities, but the reality of Dasein insofar as it is,
in and of itself, open and called to an essential and "active" relation with
the proper fact ofbeing.5
This relation is one of sense. In Dasein, it is a matter of giving sense to
the fact of being-or, more exactly, in Dasein the very fact of being is on�
of making sense. This "making sense" is not theoretical, nor is it practical in
a sense somehow opposed to the theoretical (on the whole, it would be
more in: keeping with Heidegger's thinking to call it practical "in the first
instance") . Knowledge or the understanding of being as sense is identical
with the action of sense or with action as sense. To be is to make sense. (In
a direct line from Kant: pure reason is practical insofar as it is theoretical.)
This "making," however, is not a "producing.". It is, precisely, acting,
or conducting oneself Conduct is the accomplishment ( Vollbringen) of be
ing. .As sense's conduct, or as the conduct of sense, it is, essentially, "think
ing." The essential act is thinking. But that doesn't close action back up on
"
a (merely) theoretical practice." If the "Letter on "Humanism,'" along
with many other texts, appears to restrict action-and with it original
ethics-to an activity that we might be inclined to call abstract, specula
tive, and only metaphorically "active" ("active" through the metaphor of
the "thinkers" and the "poets"), then this is the result of an inadequate
reading. In reality, "thinking" is the name for action because sense is at is
sue in action. Thinking (and/or poetry) is not an exceptional form of ac
tion, the "intellectual conduct" to be preferred to others, but what, in all
action, brings into play the sense (of being) without which there would be
no action.
176 JUDGING
This is indeed why action qua thinking-the bringing into play of

sense-is "desired" by being. This desire is love thought as ability (Mo
gen),6 in other words, as having a taste, an affection, or an indination for,
as wanting something, as having the ability to do something. Being desires
thinking (and here we might draw a direct connection with Hegel: "the
,
Absolute wants to be dose to us j). Being desires thinking insofar as think
ing can accomplish the sense that it is. What thinking names is this: the
fact that sense desires itseif as its own action. (And we would need here to
develop the question of how the concept of such a "desire" is not that of an
object-desire.)
This means that being as the fact of being-the fact that there is
something in general-constitutes by itself the desire that this fact be ac
complished (unfolded, acted) as sense. But this proposition needs to be un
derstood in all its radica1ity and originariness. There is not first a brute fact
(the being of beings, the "there is"), then a desire for sense (for this being).
If this were the case, sense, action, and ethics would have to come after and
from somewhere other than the fact of being. Now, on· the one hand, be
ing is not a "fact" in this sense�it is not something given, the "fact" that
there is a gift-and sense cannot be conferred on it as an external signifi
cation. (Moreover, such a problematic is never truly encountered in any
great philosophy. It shows through only wherever it has been possible to
posit being as a brute fact of existence "in itself," in the face of which a sub
jectivity has to assume a giving of sense "for itsel£" This is true of Sartre's
thinking-explicitly targeted in the "Letter on "Humanism'''-or of
philosophies of the absurd. The specificity of Heidegger consists, however,
in thinking being as the fact of sense and sense as the gift of being.) On the
other hand, sense conceived as signification conferred on or found in addi
tion to being itself could not properly be the sense a/being, still less being
itself as sense, Heidegger having established in Being and Time that "the
sense of being can never be contrasted with beings, or with being as the
supporting 'ground' of beings, for a 'ground' becomes accessible only as
sense, even if it is itself the abyss of senselessness."7 The fact of being-as
Dasein-is eo ipso the 'desir�, ability, and love (ability-love) of sense. But
what is given [donnee] or "handed out" [CC donne"] is precisely the "gift of
essence" in which being gives itselfessentially as the action of sense.s The
"given," therefore, is the making-sense of being and what is given or de
sired thus, given as what is desired (even if, once again, the sense of these
- � �---� -------
words would need to be reevaluated), is for the "truth of being" to be said,9

for it to be "brought to language."1O
Making-sense is not the same as producing sense. Let me say; in or
der to make things absolutely clear, that it isn't an activity that could be
compared to that by which, according to Lev"i-Strauss, an existential given,
itself reducible to a senseless materiality; is turned into an operative sense.
(To which we might add, still by way of clarification, that in a world that
is n�t related to the other world of a principle, a donor origin, a creator, or
a world-subject in general, there is, stricdy speaking, no other "fundamen
tal" possibility than the alternative represented in these ways by Heidegger
and Levi-Strauss. Unless there is a different way of going beyond bqth for
mulations of the alternative, which is another story-ours, perhaps.)
If action is an "accomplishing," that is because being itself accom
plishes itself in it as the sense which it is. But being is itself nothing other
than the gift of the desire of or for sense. So making-sense is not of sense's
making; it is making being be, or letting it bell (depending on how we
want to stress the ambivalence of German lassen: bauen lassen, to have
something constructed, also means to let or to give to the constructing ac- .
tivity as such; sein lassen means to let be, to give, to entrust to the activity
of being as such).
Letting be isn't passive; it is action itself It is the essence of action in
sofar as action is the essence of being. It is a case of allowing being to be or
to act the sense which it is or desires. Being as such..,-the fact that there are
beings in general-is no more "present" in Dasein than anywhere else (the
being of beings in general is no more present or absent in one place than
another); rather, it is the "that there is" of being as sense. This sense is not
a property ofthe "that there is." It properly is (or makes) the "that there is"
as such. It engages it and engages itself in it: "that there is" is what is at
stake in sense. Being, absolutely and rigorously considered as such (which
also means, to allude to other developments in Heid�gger's thinking, con
sidered according to its unnominalized value as a verb-being is or exists
being; it "makes" them be, makes them make-sense), is essentially its own
"engagement" as the action of sense, therefore:12 such is the decisive axiom
of this thinking. From which it follows that ontology. is, from the outset,
within or beyond itself, being's conduct ofseme or the conduct of the sense
�f being, depending on which of these two expressions has the strongest
value (the most ethical and least directional value).
178 JUDGING
Sense's conduct-or the conduct of sense-makes being as being

acted by and as Dasein. Dasein is being insofar as it is at stake as the being
that man is. The conduct of sense is indissociable, then, from a "liberation
of man for the dignit;y of his humanitas." 13 Dignity ( Wurde) exceeds any
assignable value, any measure of action regulated by a particular given. Hu
manitas needs to be measured against this measurelessness of action or,
rather, against action itself as the absolute measure. The inadequacy ofhu
manism stems from the fact that it rests on an interpretation of beings that
is already given,14 on an interpretation that has already fixed sense (through
a definition variously characterized as Christian, Marxist, etc.). By fixing
sense-the signification of sense-humanism conceals or loses sight of the
importance of Kant's fourth question-Was ist der Mensch?-as a question
concerned notwith a determinable essence of man but with what is more
originary in man than man, namely Dasein qua finitude.15
The finitude of Dasein is the finitude of being as the desiring-action
of sense. "Finitude," then, does not mean a limitation that would relate
man-negatively, positively, dialectically-to some other authority, from
which he could derive his sense, or his lack of it. Instead, it means precisely
the non-fixing of such a signification: not, however, as the powerlessness to
fix it, but as the power to leave it open.
"Finitude" thus ,means: unaccomplishment as the condition for the
accomplishment of action (or for the accomplishment that action is) as
sense. This does not mean a "loss of sense" or a "sense produced through
the mediation of its loss." . Rather, it means that sense itself has to be seen
as "the relation of being to the essence of man,"16 that is, it is being that is
at issue in man, or that man consists in (has his humanitas in) the making
be of sense, and the making-sense of being, which could therefore never be
reduced to a fixing of the sense of being. For such fixings (significations) to
be brought about (to be determined, to be chosen, and to regulate con
duct), being still has to be exposed to-and as-the action of sense as
such, or as the gift of the desire of and for this action, as, in other words,
the non-given o/sense, which is the very fact of being as sense-and thus as
finitude.
This is why "there is and has to be something like being where fini-,
tude has come to exist."17 But existence is not the factual given. One could
say: there precisely is no "factUal given" before there is the gift of the "there
is" itsel£ There is no "fact" before the gift of being, which itself constitutes
the gift [le don] of or the abandonment [l'abandon] to sense. Nor is exis-
"-; -- . -
.� . �, � ....,... .-.'-:":O',_
.
.
_._."-
...._
--::-" . �.,�_. ,-:�:"'-' •'-';"�."o.. ._.,-
.
.-'. . .... -' " ' . �::".' ; '-. --'.,;,-,,�...,"

.
. -.:.. .
.
Originary Ethics 17.9
tence actualitas, the entelechy of an essence.IS It is "ek-sistence," the way or

conduct of being as being "outside" of itself: in other words, as being-to
sense, or, again, as making-sense or action. (We might try saying: ek-sis
tence is the entelechy of what is neither essence nor power but the sense of
being.)
Yet for all that, we mustn't think of ek-sistence as an ontological cat
egory alien to concrete existence. Just as this word is but a different way of
writing "existence," so the structure it designates takes place only right at
con�rete existence. What Being and Time calls the "facticity" �f Dasein is
doubtless not the factum brutum of some being that lies "within the
world,"19 nor is it detached from the simple factuality of a concrete exis
tence. The "fact" that Dasein is in that it is desired as the action' of being
takes place right at the fact that such and such a concrete human, in each
case, exists, and that his "ontical" existence as such has the ontological
structure ofDasein. In general, what people have gotten into the bad habit
of translating "authentic" . but which is, in fact, the "proper" (eigen,
Eigentlichkeit), takes place nowhere other than right at the "improper,"
right at everyday existence-and, what's more, in the very mode of the im
proper's "turning-away" from the proper.20 Put in another way, factual ex
istence is "proximally and for the most part" constituted in ignorance of
the facticity of sense that is the ontological fact of existence itself. "The
'
pure 'that it is' shows itself, but the 'whence' and the 'whither' remain in
darkness."21 But it is precisely this darkness, this being-not-given of sense,
that leads onto the proper dimension of sense as what is, in being and of
being, desired and to be accomplished (acted out). In the ordinary impro
·
priety of simple existing, being's propriety of sense-which consists pre-
cisely in having to make sense, and not in the disposition of a given proper
sense-both dissimulates and reveals itsel£
From which it follows:
I. that. ontic existence has, as such, the structure of ontological
ek-sisting;
2. that, correlatively, the fact of being (of Dasein) has, as such, the
structure of making-sense or of action.
In principle, the ethics thus announced refers to ,nothing other than
existence. No "value," no "ideal" floating above concrete and everyday ex
istence provides. it in advance with a norm and a signification. But this
everyday existence finds itself asked to make sense.22 This request, in turn,
stems neither from he;aven nor from an authority of sense: it comes from
180 JUDGING
existence, being the proper request of its being. Only on the basis of this
original request will it be possible for beings, in their action; to give them
selves ideas or values-and, what's more, this will make sense only accord
ing to the original action which is at issue in the request.
Hence, this thinking strives to take most rigorously into account the
impossibility, which has arisen with and as modernity, of presenting an al
ready given sense, with the evaluations which would be deduced from it.
(And although this is p.ot the place to do so, we ought to ask ourselves
whether this problematic is not in fact that of the whole of philosophy, al
ready present in Plato's agathon and first radicalized in Kant's imperative.)
To clarifY; we could say: the ethics engaged in this way is engaged on
the basis of nihilism-as the general 4issolution of sense-but as the exact
reverse of nihilism: as the bringing to light of making-sense as action re
quested in the essence of bei.ng.23 So it also engages itself according to the
theme of a total and joint responsibility toward sense and toward existence.
(I can only signal in passing the importance of the motif of responsibility.
Discreetly explicit, like that of ethics itself, this motif tends toward noth
ing less than "being's being-responsible towards itself, proper Being-its
self,"24 the latter having, in principle, nothing solipsistic or egoistic about
it but, on the contrary, containing the possibility and the necessity of be
ing-responsible toward others.)
Ek-sistence, then, is the way in which Dasein is as Dasein, its way of

being.25 This way of being is immediately a conduct: the conduct of being
open to making-sense, a being-open that is itself opened by (or whose
opening c�msists in) the desire/ability of sense. Insofar as it is opened in
this way, this conduct is a setting-outside-itself or ex-position as the very
position of the ek-sistent. This being-outside-itself, this "ecstatic essence,"26
doesn't happen to an already given "sel£" On the contrary, through it
something like a "self" (a subject, and a responsible subject) can come
about. "Ecstasis," as it needs to be understood here, is not exaltation be
yond the bounds of the ordinary. (Besides, ecstasis as exaltation is in no way
the hallmark of an accession to authenticity.27 This is why the word "ecsta-.
sis" also undergoes a modification into "standing-out."28)
Being in ek-sistence consists in "being the there. "29 Dasein has to be
understood not adverbally and locally, as being-there, but verbally, actively,
and transitively, as being-the-there. Hence, Dasein is definitely not the
·
name ofa substance but the sentence of an action. "Being-there" in fact
presupposes the prior given of both a being and a place. "Being-the-there,"

1 however, implies that being properly ek-sists as its "clearing."30 By this
"clearing" we need to understand not, or not in the first instance, an illu
mination or revelation that brings being to light, but being itself as an
opening, a spacing-out for possibilities of bringing to light.3I Being ek-sists
(is) in that it opens being. The there is the open in which, right at an exis
tence hic et nunc, making-sense is at issue. The there is the place in which,
on the basis of it, on the basis of its opening, something can take place: a
conduct of sense.
The ek of ek-sistence is the conduct proper to being the there in full
measute (indeed, it is itself to be understood as measute insofar as there is
no ethics without measure), in which, by being the there, by being that
there is there an existence, being is sense. Sense, indeed, is "the structure of
the �pening."32 But such a structure is not the setting up of a distance (like
the given opening of a source, for example, from which sense could
spring); it is the activity of opening or of opening oneself as making-sense,
(Let me note in passing that action as essentially opening implies "being
with one another" as its "foundation." The opening of making-sense is ut
terly impossible in a solipsistic mode.33 Nonetheless, we cannot take from
this the prescription of an "altruistic" morality. What is established, rather,
is that, whatever the moral choice, the other is going to be essential °to
opening, which is essential to sense, which is what is essential in the action
that makes up the essence of being.)
o Essentially, then, being is a making-sense,(-of-itself) and we can spec
ify the scope of this expression by considering all the definitions that have
now been acquired. But the fundamental definition is undoubtedly this:
the sense which it is a matter of "making" is no more a sense that can be as
signed �ccording to something other than being than one can make sense
of being by simply positing a being-there. There is, in principle, neither a
simple transcendence nor a simple immanence. If it is entirely legitimate
and not simply verbal acrobatics to say that the sense of being is the being
of sense, this means that sense (the sense of human existence, but also, and
along with it, the sense of the world) is in principle nothing other than ac
tion, or conduct. Conduct is thus the proper transcendence of the imma
nence that is.
Now, let me pause for a moment in order to address the objection
that will doubtless be raised at this point: sense is thus identical and coex
tensive with all action, whatever its signification and whatever its value. As
182 JUDGING
such, this supposed "ethics" leads to an indifferentism (a subjectivism or a

moral relativism), even if that indifferentism is of the kind "morality of ac
tion." To this objection, two responses:
1. In fact, the c!.etermination of being as the desire/ability of making
sense is onto logically and logically prior to any evaluation of a determinate
sense. This is indeed necessary if what is at stake in the first instance is an
absolute dignity as the character ofDasein. Transposed into different terms:
only a subject which is entirely responsible for sense, and for its own exis
tence as making-sense, without prior subjection to any fixed sense, can be
.. a fully-fledged ethical subject. Already, nothing else was at stake in the
Kantian notion of dignitY, for which (setting aside the model .of a "law of
nature," which precisely is only an analogical model) the "universality of
the maxim" meant the totality of responsibility, while the condition of "re
spect" meant engagement by and before oneself as "acting sel£ "34 There is
no more subjectivism in Heidegger than there is in Kant. For subjectivism,
in fact, evaluative moral decision making is represented as a good in itself
(the "freedom to choose"), the only real "good," already appropriated by
every subject as such: fundamentally, subjectivity itself as good. By con
trast, the dignity of Dasein consists in needing, in each choice, to engage
what can be called, for want of a better term, the objectivity of being (and,
so of humanity and the world) . Remarkably, what is undoubtedly one of
the most significant contemporary ethical investigations in the Anglo
American context, Charles Taylor's investigation into the "ideal of authen
ticity," is left as though hanging halfway between these two directi()ns. To
, the extent that it challenges subjectivism without invoking a transcendent
authority, it actually indicates-albeit urIconsciously-the necessity of an
ontology of making-sense. In general, it is instructive to note the extent to
which the contemporary Anglo-American debate on the (non-) foundation
of morality · (between Aristotelian-Thomist proponents of a determinable
"good" and liberal proponents of "justice" concerning individuals with dif
fering subjective "goods") has the same ontological demand unwittingly
behind it. What is at issue here is nothing other than the end of a meta
physico-theological foundation to morality so as to arrive at ethics as the
ground ofbeing. So Heidegger will at least have marked out the particulars
of the problem.
2. Even though no norm or value can be determined. on the funda
mental level, where what is at issue is valueless value, the unevaluable dig
nity of making oneself the subject (or the agent) of possible evaluations, we
can, by contrast, take this to indicate a positive hint in the direction of

what can quasi-6rient action as such, if I may put it that :way: nothing
other than the truth of ek-sisi:ence. But we must not fail to remember that
this truth takes place right at existence, or that it is its very event (its every
event and appropriation, Ereignis-a theine that I can't develop here) . The
imperative, we might be tempted to say, is this: respect existence. But this
imperative provides no sense or value. What it does require, though, is that
we make sense of existence as existence. It cannot be reduced, for example,
to a "respect for life," as though the sense of life or life as sense were some
thing given. On the contrary, talk of a respect for life immediately exposes
one to all the problems of determining what "life" is, what "humari life" is,
and how it does or does not differ from "animal life" (or "plant life"), what
its conditions of recognition, dignity, and so forth, might be. From this we
can grasp how all the problems being raised today by bioethics as well as by
human rights bring to light the necessity of heading back toward an on,.
tology of action: not so that they can be resolved once and for all, but so
that we can apprehend the absolute making-sense of the action that puts it
self in the position of having, for example, to decide what � "human life"
is-without ever having the ability to fix this beingas i given that has been
acquired once and for all. (I'm well aware that these considerations are
wholly extrapolated from Heidegger, but we need atleast to indicate that
such an extrapolation, of which Heidegger will doubtless have been un
aware, is not only possible but necessary;)
The "proper dignity" of the human,35 which doesn't depend on any

subjective evaluation,36 derives thus from being having entrusted itself to
him by ex-posing itself as the opening of making-sense. Man, no longer
the eeson 0f G 0d, " the "purpose 0f nature," or the "sub'Ject 0 fh'IStOry"-no
longer, in other words, a being that is or that has sense-is the being
through which being ex-poses itself as making-sense. Indeed, we could
even risk an expression such as the following: the human is no longer the
signified of sense (that would be the human according to hum3,11ism), but
its signifier; not, however, in the sense that man designates its concept, but
in the sense that he indicates and opens its task as one that exceeds all as
signed senses of the human. "Dasein" means: the making-sense of being
that exceeds in man all significations of the human.
Exposed in this way, bei�g properly is the entrusting to Dasein of the
"guarding" of its truth. In this sense, Heidegger calls man "the shepherd of
184 JUDGING
being."37 We ought to pause here for a moment, since this sort of "pas
toralism" has often raised a smile. Granted, terms like "shepherd," "guard
ing," and "protective heed" aren't entirely free of evangelistic, backward
looking connotatiofl:s. They evoke a sense of preservation, a conservation of
what ought to be open and to be risked. There's a reactive if not out and
ou,t reactionary tone here, one that Heidegger wasn't alone in taking, a tone
that often befalls moral discourses ("preserving values," etc.) . It is as '
though inaugural dignity were brought to light without any acquired pro
tection, without the reassurance of any given sense, itself needing to be
protected or safeguarded. Now, what has to be "guarded" is the open
something that the "guarding" itself risks closing back up again. For the
dignity of the open we might then substitute the emblematic value of its
guardians, which will soon be identified, moreover, in terms of the deter
minate figures of the "thinker" and the "poet." All of this has to pose a
problem, one that needs to be addressed. For it's still the case that, quite
logically, the "guarding" of the "open" can only ever be the opening of the
open itself, and that the pastoral tone ought not to conceal the indication
of an absolute responsibility. Here we doubtless find the crux of a radical
thinking of ethics: in the possibility of confusing original making-sense
with an assignable origin of sense, an opening with a gift (and, again, what
is lodged here is the whole ambiguity of the "gift"; I will come back to
this) . Thinking the origin as ethos or conduct isn't the same as representing
an originary ethos, even though it is all too easy to slide imperceptibly from
the one to the other. (The difficulty here isn't specific to Heidegger and
could probably be found in Levinas or Spinoza as well.)
Be that as it may, let us recall for the moment that these very
terms-guar4ing, protective heed, the solicitousness of the shepherd-in
dicate the order of a conduct. It is less a: case of leading [conduire] a flock
than of conducting ourselves in such a way that "beings might appear in
the light of Being."38
This "appearing," however, isn't the effect of a production. Man
doesn't produce beings, nor does he produce himself; his dignity is not that
of a mastery (which, in general, is not susceptible of dignity, merely of
prestige or impressiveness) . In fact, "man dQes not decide whether and
how beings appear." This is a matter for the "destiny of being."39 That
there is something, and that there are such things-this world-is not for
us to decide. This, then, is given. But what is properly given with this gift,
or what is properly the destination of this "destiny" (and without which
- " '."
- .< :, .�!::, ' '.:..!.�
. �-r _._ ,--:. . . • "
.!
Originary Ethics I85
there wouid be neither "gift" nor "destiny," but factum brutum) is what is
not, in other words, the being of beings as the desire/ability of sense; What
is properly given-what being gives and that as which it gives itself-is the
need to make sense of and in beings as a whole (their "appearing in the
light of being") . It is in this sense that humans are responsible for being, or
that the Dasein in them is the being-responsible of/for being itsel£
We need to replace for "being is" the expression "Es gibt" das Sein."40
"The essence of being" is an essence "that is giving, that grants its truth."41
What being gives is being itself. Being gives of being. (The) being (of be
ings) is not a "gift" that it "gives," therefore. And therein lies the whole am
biguity of the theme of the "gift," and it is for this reason that we might
well prefer the term "letting" to that of "giving." Being lets beings be. Be
ing does not "give" anything: being is the letting-be through which some
thing is. Hence the, very being of beings, their essence, "gives" itself, "lets"
itself or "transfixes" beings as �'truth," in other words, as that which opens
onto sense-and preCisely not as a sense or as an appropriable horizon of
signification. The "gift" is inappropriable qua "gift," and this is exactly
what it "gives" or "lets" (hence, what we receive as a present doesn't be
come our property in the way that something we have acquired does; the
gift becomes "mine" without alienating its inappropriable essence qua gift;
for the essential reason that what, on aCCOUIlt of the idiomatic expression
es gibt, tends to be called the "gift," cannot designate "a gift") . The gift be
comes "mine" without alienating its inappropriable essence qua gift. Con
versely and correlatively, what is "let" becomes "mine" without retaining
any sense of a giver; where this not the case, it would not lef;-- or make-
be its own letting-be.
This is why it is a matter of corresponding to this "gift," to this "let
ting-be/-make" as such. It is a matter of responding to it and of being re
sponsible for it, of being engaged by it. It is a matter of finding the fitting
. gesture, the right conduct (das Schtckliche . . . , das diesem Geschick ent
spricht, as Heidegger says) toward the giving or the letting-be/make as
such.42 Toward being, in other words, since being is definitively not the
giver of the gift (es gibt-however we look at this, the gift has no owner;
and let me say that throughout our dealings with the motif of the gift in
Heidegger, Derrida's analyses must be borne in mind). Being is the gift it
self; or, rather, beingis letting-be, just as it is "the clearing,"43 just as it ek
sists beings. Being doesn't "give" being existence, therefore; being is, in a
transitive sense, ek-sisting.
186 JUDGING
The fitting gesture is one th�t "touches" on being.44 (Here, we would

need to develop the difference between touch as a mere sense:-in Ger
man, Tast, tasten--and the rilhren that Heidegger uses to denote a sense of
stirring, affecting, moving.) If it is a matter of "touching" on being or of
touching it, this is because being is "the nearest,"45and insofar as it denotes
the transitivity of ek-sisting. If, in Dasein, it is being that "is at issue," it is
because �f this intimate nearness: existence touches itself; in other words,
it "moves" itself, sets itself moving outside of itself and affects itselfwith its
own ek-. Action, this action of "touching," is what is at stake, therefore, in
the being "that is at issue." (We could also say that the theme of originary
self-affection is reawakened here, beyond the sphere of consciousness and
affect, as the theme of an originary ethos.)
"Nearness" and "touching" evoke what would we would have to call
the intimate distance according to which "being" is related to "the essence
of man," in other words, according to which "being itself is the relation,"46
Being is the relation of existence to itself as the action of sense. For beings,
being is precisely not being-there, Dasein pure and simple, but the open
ing to an accomplishment of sense.
The .relation of existence to itself as the opening of and to sense is

nothing other than the relation of the "improper" to the "proper. "47 The
improper of ordinary existence reveals itself as "improper" insofar as it has
an essential relation with the "proper"-even if only in terms of fleeing or
avoiding. Which means: it has a relation with its own "proper [son propre
"propre"]''' with what is most proper and nearest to it, the call to make
sense. One could transcribe this thus: nothing .is more ordinary than the
call, most often an undeceived one, to the "sense of existence," and noth
ing is rarer than responding to this call in a fitting ("responsible") way, in
other words, without being deceived by a "sense" supposedly given to exis
tence, as if from within or beyond it, instead of confining ourselves to the
making-sense of ek-sisting.
The fact that this sort of response is rare doesn't mean that it is a
privilege reserved for a few or that it is very difficult to obtain: rather, it
means that it belongs to the essence of the sense of being not to give itself
as a laid-down sense (and so, to make the point again, to be not properly
given), and that the dignity of man comes from his being exposed to this
essence of sense as that which touches h�m most closely. What touches
him-or that upon which he touches-doesn't let itself be incorporated,
I
!!
appropriated, and fixed as an acquisition. If sense were acquired or, what

amounts to the same thing, needed to be acquired, there would be no eth
ical possibility. If, however, the action of sense is the exercising of the rela
tion with ("touching") what is nearest but cannot be appropriated as a be
ing, then not only is there an ethics, but ethics becomes the ontology of
ontology itself (as for appropriation, it is the event of being, the Ereignis).
"Nearness occurs essentially as language itsel£"48 This essential role
of language doesn't contradict the primacy of action. It's not a case of say
ing that the exercising of language is the only real action, relegating "prac
tical" actions to second place. Later on we will have to make clear a few
reservations regarding the role Heidegger entrusts to language (even
though the potential for countering such reservations can be found in Hei
degger himself). For the moment, however, we need to situate language as
accurately as possible.
Language isn't a superior kind of conduct. It is the element in which
conduct confirms itself as conduct of sense. On the one hand, language ex
periences sense as what is to be asked or questioned. It is "a questioning
that experiences."49 On the other hand, what it experiences-the sense of
being, in other words, being as sense50-it experiences or undergoes as "the
transcendens pure and simple."51 Language responds to being as the tran
scendens: what it doesn't do is respond to it by assigning the transcendens;
rather, it responds by co-responding to the transcendence of the transcen
dens and responds thus to transcendence by taking responsibility for it.
This is why language itself is "the house of being, which is propriated
[ereignet] by being and pervaded by being."52 As a structure of language, it
is less a "lodging" for a particular sense than the very Ereignis of sense, the
event-appropriation (desire/ability) of sense. Why? Because it is properly
the element bf sense. And yet, it is not so much an element as a production
of significations. It is so in that significations can only ever be signified on
the ground of making-sense, which is not itself a signification (and which
refers perhaps rather to "due silence").53
In truth, "language" designates much less the order of the verbal than
that on the basis of which this order can take place,54 and which is, pre
cisely, the experience of transcendence (or, more exactly, experience as tran
scendence, and as its responsibility) . Nevertheless, transcendence has to be
understood very precisely, not as that which might transcend existence to
wards a pure "beyond" (and which, by the same token, would no longer
pertain to language but to a different experience, a-let us say mystical-
188 JUDGING
experience of the transcendens as such, rather than of transcendence), but

as that which structures .existence itself into a "beyond," into ek-sistence.55
The transcendence (ofthe sense) ofbeing is a transcendence ofand for im
manence: it is nothing other than the desire/ability of making-sense, and
this desire/ability aimaking-sense.
On this basis, the transcendence of being can and must be explicitly
expressed as "originary ethics."56 Sense, in fact, does not relate a particular
to a transcendent signification that sublimates it outside of itsel£ Sense ap
pears instead as "the demand . . . for an obligating intimation and for rules
that say how man, experienced from ek-sistence towards being, ought to
live in a manner befitting his destiny. "57 Such an intimation is unneces
sary, since there would need to be an obligation to enforce a law, about
which, moreover, we would still know nothing. It is, on the contrary, the
manifestation of sense as such, as the sense of action. (If you like, we could
say: sense is the law.) As regards Kant, Heidegger writes: "the respect be
fore the law . . . is in itself a making-manifest of myself as acting self,"
whereas "Reason, as free, gives to itself that for which the respect is re
spect, the moral law."58 (Let me take the opportunity here to emphasize
once again the importance of Kant to all this. It is as though Heidegger's
concern was to regain the point at which Kantian subjectivity frees itself,
by itself, from its subjective foundation-from representation, from signi
fication-and confirms itself as acting, in other words, as exposed to a
sense that isn't given.)
Here, ethics isn't the effect of a distribution of disciplines that would
distinguish the order of moral significations (values) from the order of cog
nitive or natural significations {"logic" or "physics") .59 In fact, "disciplines"
can find their place as regimes of signification only "after" making-sense as
such. Making-sense as such is prior to any such division, an "intimation"
of it, just as the conduct of existence is prior to any determination of sig
nifications (from which we ought logically to deduce that all disciplines are
"originarily ethical"-the cognitive, the logical, the physical, and the aes
thetic just as much as the moral).
Ethos needs to be understood as "abode" {following Heraclitus's say
ing: ethos anthropoi daimon.)60 The abode is the "there" in that it is open.
As such, the abode is much more a conduct than it is a residence; more ac
curately, "residing" is principally a conduct, the conduct of being-the
there. To think this conduct is thus "originary ethics," since it involves
thinking ethos as the conduct of/according to the truth of being. This sort
of thinking is more fundamental than any ontology, therefore; it doesn't

think "beings in their being" but "the truth of being." It was in this sense
that the thinking that took place in Being and Time had already been de
scribed as "fundamental ontology."61 What becomes clear now, however, is
not simply that the thinking of being involves an ethics but, far more rad
ically, that it involves itself as an ethics. "Originary ethics" is a more ap
propriate name for "fundamental ontology." Ethics is what is fundamental
about fundamental ontology. Nonetheless, we cannot simply substitute
one name for the other without losing sight of the following essential
point: ethos isn't external to or superimposed upon being; it is not added to
it, does not happen to it, does not give it rules that come from elsewhere.
Rather, being i.l'-because it is in no sense a being-what ek-sists beings,
what ex-poses them to making-sense. Being is the ek-sistent conduct of
Dasein. And this is also why, in preference to any term that might evoke a
"moral philosophy" deduced from a "first philosophy," Heidegger retains
the expression "the thinking about Being," stating that it . is "neither ethics
nor ontology," "neither theoretical nor practica1."62
This thinking "has no result."63 It gives neither norms nor values. It
does not guide conduct but conducts itself toward the thinking of conduct
in general64---'not as something to be normalized or finalized, but as what
constitutes dignity itself, namely, having, in one's own being, to make
sense of being. Besides, if thinking as originary ethiCs were · to provide
"maxims that could be reckoned up unequivocally," it "would deny to ex
istence nothing less than the very possibility ofacting."65
What is deliberately provocative in the expression "this thinking has
no result" requires careful consideration. It also amounts to saying that
such a thinking is its own result, or "effect"66-not because the purity of its
speculation leads it around in circles, but because it is only possible as a
thinking (in the manner of all true thinking) insofar as it is itself a con
duct, an existential action. It posits and posits itself actively, which is also
to say that it obligates itself to encounter human dignity insofar as the lat
ter is incommensurable with a fixing of signification and a filling out of
sense: in other words, it is ultimately incommensurable with any "think
ing" in the usual sense of the word (idea, concept, discourse, etc.). Neither
a sense projected indefinitely beyond (a "philosophy of values") nor sense
captured and fixed as pure autonomy (the subjectivism of free choice) can
ensure such a dignity. Both, moreover, lead to bitter disappointments that
are rather different from what initially seems to emerge from Heidegger's
190 JUDGING
notion of thinking as having "no result." Indeed, this is shown by contem

porary moral confusion, which fails to find either values or free will. Do
ing so, however, it shows that it has no sense of an ethics.
Dignity is possible only ifit measures up to finitude, and finitude, as
will now be clear, means the condition of a mode of being whose sense
makes-sense as a ground and a truth. (Infinitude, by contrast, would be the
condition of a mode of being that results in a sense being produced, ac
quired, and related back to itself) Schematically speaking, therefore: ek-sis
tence is sense; it has no sense.
Existence, however, still has various senses (and non�senses). It can
and must have them, can and must receive, choose, and invent them. Their
number and scope is incommensurable with the unitary sense of dignity.
Touching on this sense-not absorbing it as a signification, therefore, but
ex-posing ourselves ro it-such is the conduct toward which thinking
strives. What marks it out as a conduct is the fact that it knows that it is
conducting itself toward the "shattering" that consists in "shattering
against the hardness of its matter."67 This is a long way from being either a
conduct of shattering or a way of "philosophizing" about shattering. 68
Rather, it is a conduct that conducts itself in such a way as to take the
measure of the incommensurable interval between every "thinking" (idea,
representation, etc.) and the fundamental action through which it makes
itself think. It takes the measure of the absolute interval that sense is.
There's nothing mystical about all this; what is mystical, though, is
thinking that immediately projects its insufficiency onto the sufficiency of
a signified effusion that somehow lies beyond it. Here, however, thinking
merely experiences the relation of the improper to the proper as what
properly needs to be thought, despite its being precisely not an "object of
thinking" but the gesture ofconduct or, more than this, the event of being
that ek-sists as the conduct of sense. What we call "thinking" is not a dis
cursive and representational elaboration "about" this conduct, therefore; it
is being-engaged in it.
Let me recall briefly just how this event of being comes to be de
scribed in Being and Time as a "call of conscience. "69 The call "makes" D�
sein schuldig, guilty or in debt/a However, this idea of Schuldigsein isn't sim
ply a matter of '''having debts' and law-breaking."71 Rather, it is "a predicate
for the 'I am."'72 In this sense, then, it is the "responsibility" that is incum
bent upon me insofar as I am "the ground of a nullity [Nichtigkeit],13 in
other words, the "ground" of ek-sisting as such. In the terms used by the
"Letter on 'Humanism"'; I am responsible for the gift as such.
At the same time, responsibility isn't played out between an imper

sonal "being" and an isolated "sel£" There is no "impersonal being."
Rather, being is, if you like, the being-person of Oasein or, a little differ
ently, in a formulation that would be both provocative and humorous, the
personal being of Dasein,?4 Hence, responsibility only ever takes place as a
responsibility with and toward others,?5
Thinking in the sense of "originary ethics" is the experience of this
absolute responsibility for sense. Nevertheless, this way of "experiencing"
isn't a "feeling" (a word that isn't used in the text, and that I'm only using
here as a provisional recourse). This ethics is no more an: aesthetics than it
is a mysticism. It is not a matter of feeling the sublime sentiment of in
commensurable dignity, and the action of thinking doesn't consist in sa
voring its mixture of pleasure and pain . . . It is a matter of exposing our
selves to the absence of concept and affect .(we should think, once again, of
Kant's notion of respect-but also, if we reread the texts carefully, of the
sublime as apatheia) that constitutes the articulation of being as ek"sistence
or as making-sense. The intimation of sense and/or its desire is without
concept and without affect. Or rather, the original ethos is the ek-sistent a
priori synthesis of concept and affect in general. And it is only thus that,
rather than being the object of thinking, it is its very matter.
Opening ourselves to making-sense as such, as what is at stake in be

ing, means at the same time opening ourselves to the possibility of evil.
"Being nihilates-:-as being."76 In other words, the gift, as the
possibility/intimation of making-sense, also gives itself as the possibility of
not receiving the gift as a gift (without which it would be neither a "gift"
nor "desire" nor "intimation" -nor what is more properly the synthetic a
priori of these three categories). It isn't a matter of denouncing human
"badness" as opposed to the generosity of being.77 This generosity itself of
fers the possibility of the "nothing" within the essence of being. This isn't
to say that there is no difference between the two antagonistic possibilities;
were that so, they could hardly be called "good" and "evil." Rather, then, it
means that evil is possible as the "rage" that precipitates being into the
nothingness that it also is.78
How can ek.-sisting, precipitated thus into its nothingness, be distin
guished from ek-sisting e:x:posed to its ownmost possibility of sense? Basi
cally, how can one nothingness be distinguished from the other? Heideg
ger wants us to understand that no distinguishing ("normative")
192 JUDGING
proposition can have any real sense if thinking is nodirmly upheld in the
face ofthe possibility that making-sense might "nihilate" or destroy itself
as such. No doubt the glaring tension in this text's refusal to attempt even
the slightest determination of evil can seem a touch worrying. This would
need to be addressed" elsewhere. What has to be conceded is the fact that
any determination of evil would lead us away from the necessity of think
ing the possibility of evil as a possibility of ek-sistence. It would lead us
away from the possibility of being as ek-sistence.
This is what Heidegger indicates in the passage in which he sketches
out a recent history of negativity "in the essence of being"79 (revealing "ni
hilation" to be indissociable from "the history of being"-or from being as
hist9ry-that brings it to light in its essential character). He notes that it's
with speculative dialectics that negativity appears in being, but he does so
merely in order to observe that "being is thought there as will that wills it
self as the will to knowledge and to love";80 in other words, dialectics sub- .
lates evil in this knowledge and this love. In this, the most recent form of
theodicy, "nihilation" remains "essentially veiled." "Being as will to power
is still concealed." Hence it is as will to power that nihilation has mani
fested itself without dialectical resorption. We can gloss this indication by
thinking of the date of the text: i946. If Heidegger isn't more explicit, that
is surely because he refuses to separate the question of Nazism from that of
an essential Weltnot,81 a distress or deficiency in the modern world linked
to the unleashing of "technology" (which it's �ot enough to oppose with a
moral protest). This means, at least, that the modern world-or being in
its most recent "sending"-brings to light, to a harsh light, an unreserved
"engagement" of ek-sisting in the complete responsibility for sense (which
may mean, moreover, that the demand to which the Nazi engagement was
intended to respond was ethical and that Nazism ultimately showed itself
to be the movement of this demand over into "rage") . In this, "originary
ethics" is not only the fundamental structure or conduct of thinking, it is
also what is delivered at the end of and as the accomplishment of the his
tory of "the West" or of "metaphysics." We can no longer refer to available
senses; we have to take absolute responsibility for making-sense of the
world. We cannot ease the "distress" by filling up the horizon with the
same "values" whose inconsistency-once their metaphysical foundation
had collapsed-allowed the "will to power" to unfold. What this means,
however, is that the ground needs to be thought somewhat differently: as
ek-sistence.
This is how original ethical conduct encounters its law, its proper
nomos: the nomos of the "abode," of "upholding" according to ek-sistence.82
It is a matter of upholding ourselves and "bearing" or "carrying" ourselves
in a way that befits the injunction of being-the injunction to be-ek-sis
tent. Conduct, dignity, is a matter of bearing. We have to bear ourselves,
bear up before the responsibility for making-sense that has unfolded unre
servedly. Man has to understand himself according to this responsibility.
This bearing is above all that oflanguage. "Thinking" action consists
in "bringing to language." What has to be brought to language isn't of the
order of maxims. These, as such, don't need to be brought to language;
they are, at least to a certain extent, available significations. (To take up the
example once again: we can express a "respect for life," yes; but that says
nothing abour what does or does not make sense through "life" and our
"respect" for it.)
This bearing of and in language is nothing more than respect or care
for the job of making-sense; the refusal, consequently, to reduce it to facile
moralizations or aestheticizing seductions (whence, for example, the reason
why Being and Time was to dismiss interpretations of "responding to the .
call" as "wanting to have a 'good conscience'" or as "cultivating the call vol
untarily."83 None �f which rules out the fact that the "Rectoral Address"
fell into both of these traps.)
Hence it is with regard to the bearing oflanguage that the "Letter on
'Humanism'" expresses what are, properly speaking, its only maxims, the
maxims of "bearing" itself: "rigor of meditation, carefulness in saying, fru
gality with words. "84 These three maxims propose no values. Nor could
they be used simply to measure the "ethicity" of any given discourse. The
careful-even fastidious-restraint that they evoke, which has a whole ·
Kantian and Holderlinian tradition behind it,' can just as easily be turned
into puritanical affectation. The ethics of "bringing to language" should
not be confused with a morality, still less with a policing of styles. These
three maxims are merely the maxim of the measure of language in its rela
tion with the unmeasurable character of making-sense.
All of which explains why Heidegger takes as his example of "the in
conspicuous deed of thinking" the use of the expression "bring to language
itself," an expression that he has just said needs to be taken "quite liter
ally."85 If we think it, he says, then "we have brought something of the
essence of being itself to language." This means that "bringing to lan
guage" doesn't consist in expressing through words a sense laid down in the
194 JUDGING
thing that we call being (being is precisely not a thing). It means literally
(and we probably ought to say "physically," had we the time to explain our
selves on this point) bringing being itself, as ek-sisting, ro the advent or the
event that it is: to the action of making-sense. Language doesn't signify be
ing but makes it be. · But "making being being" means opening it to the
conduct of sense that it is. Language is the exercising of the principle of re
sponsibility. Hence, saying "man" or the humanitas of man--:-provided we
have "bearing"-cannot amount to expressing an acquired value. It will al
ways mean, so to speak, letting ourselves be conducted by the experience
of a question-What is man?-that is already experienced as being be
yond any question to which a signification could respond. Language is ac
tion in that it is indefinitely obligated to act. "Bringing to language"
do�sn't mean entrusting ourselves to words; on the c(;mtrary, it means en
trusting the acts of language, as all acts, to the co�duct of sense, to the fini
rude of being, in other words, to the ek-sistence in which·"man infinitely
exceeds man."
If it isn't going too far, allow me three brief concluding remarks.

which will extend beyond the scope of an article such as this. This isn't the
place to develop them, but it's relevant to mention them, since it would
demonstrate a marked failure of integrity not to indicate the perspectives
from which it has here been possible to present my remarks on Heidegger
ian ethics (andit should be pointed out that these perspectives are in line .
with a whole history of post-Heideggerian elaboration, particularly . in
France, Italy, and the United States).
a. Unquestionably, Heideggerian ethics is a long way from stressing
the "being-the-there-with-others" that is, according to Being and Time, co
implied in elc-sistence. That sense is or makes sense only in the sharing that
finitude essentially is, this is what is not emphasized. And this is doubtless
the reason why it will have been possible, without further ado, to treat a
"people" as an individual. In order to be rigorous, the analysis would need
to extend to plural singularity as the condition of ek-sistence. Such singu
larity isn't that of the "individual," but that of each event of being in "the
same" individual and "the same" group. Moreover, . the singularity of the
event of being also needs to be considered insofar as it affects the totality
of beings. It would also be necessary to "bring to language" the being or
the ethical sense of nonhuman beings. At any rate, "bringing to language"
is indissociable from a "communicating," something over which Heidegger
does not linger. This isn't the communication of a message (of a significa
tion), but that of making-sense-in-common, something that is quite dif
ferent from making common sense. It is finitude as sharing.
b. At the same time, the attention paid to language-particularly in
the form of poetry-is always, and above all in the Heidegger of the essays
on language, on the point of privileging a silent enunciation, one that
might well prove to have the structure, nature, and appearance of a pure
utterance of sense (and not of what I have been calling the "conduct .of
sense") as the sole and final (no longer "original") action. Poetry-and/or
thinking-would give sense, even if silently, instead of opening onto it. At
this precise' point, at the apex of the action that "brings to language," we
would need to think how the "bringing," bringing being itself, is action
properly speaking, more so than language, and how existing ex-poses itself
outside language through language itself, something that would take place,
in particular, within making-sense-in-common; .in other words, through a
language that is first and foremost an address. We might well say: ethics
would need to be "phatic" rather than "semantic." And I would also sug
gest that we put it in the following way: making-sense ex-scribes itse/frather
than being inscribed in maxims or works.
These two points amount to saying that "originary ethics" still fails
to think the responsibility for its own ex-position (to other�, to the world),
an ex-position that constitutes its true logic.
c. By claiming the title "originary ethics" and by identifying it with a
"fundamental ontology" prior to every ontological and ethical partition of
philosophy, Hridegger cannot but have kept deliberately quiet about the
only major work of philosophy entitled Ethics that is itself an "ontology" as
well as a "logic" and an "ethics." His silence about Spinoza is well known,
but it is doubtless here that it is at its most deafening. There would be lots
to say about this, but the most summary of observations will suffice: to say
that ethos is the ek-sisting of existence itself might be another way of saying
that "blessedness is not the reward of virtue, but virtue itsel£"86
Translated by Duncan Large
P LEASURE
10
The Kantian Pleasure System
In what follows I offer only a programmatic remark on the system

atic place occupied by "pleasure" in the overall organization of the Kantian
edifice� This takes the form of a commentary on the early sections-prin
cipally the third-of the First Introduction to the Critique ofJudgment.l
This Introduction is concerned more or less entirely with the notion
of "system": the system of "philosophy," of the "powers of the human
mind," and of "experience." It is the system of "powers" that makes it pos
sible to think of experience as a "system," that is, to confer on it the kind
of purposive organization that is lacking in mere knowledge of objects as
this is defined in the Critique ofPure Reason. Moreover, it will ensure a sys-
, tematic correlation between "theoretical philosophy," which posits objects
without purpose or ends, and "practical philosophy," which posits uncon
ditioned purposes or ends without objects.2 The systematic knot must
then, by tying together ends in general with experience in general, secure
the ends of philosophy itself, as "the system of rational cognition through
concepts." Critique has merely established the conditions for such a sys
tem by bringing out and delimiting against each other the central concepts
.
o f "nature" an· d "fireed om. " 0nIy "purpose" or "purpOSlveness" assures a
connection between the two, without overstepping their strict reciprocal
.
demarcation.
From the standpoint of the "powers of the human mind," the dis
tinction in question is between the understanding and reason. It is here
that the determination of powers and their arrangement on one side or the
200 PLEASURE
other of the strict boundaries of critique assumes greatest importance: the

transcendental procedure demands that the powers ( faculties) be con
=
sidered first as they are in themselves, that is to say, in terms of their ca
pacities and their orders of legitimation, thus their circumscriptions, their
reciprocal division, and therefore precisely the consideration of powers, in
the plural. This plurality is what constitutes the unity of pure reason and is
.
the condition of its systematicity.
The system of powers is thus secured, not by an immediate unifica
tion after the fashion of the intuitus originarius (which would not, in fact,
be a "power" in the strict sense at all, but a summary expenditure of power
suppressing all potentiality), but by another kind of power altogether. A
third power is introduced, signifying straightaway both the possibility of
connecting the other two and the desirability of maintaining their recip
rocal demarcation by means of what we might call a supplementary de
marcation: neither cognitive nor normative, the faculty ofjudgment mal{es
up for the lack of an a priori legislation of purposiveness. It will be
charged with thinking "experience as a system in term ofto empirical laws,"
that is, an experience that would not only be not the experience of an ob
ject, but also be that of the "necessity of the whole" of nature in all its di
versity and "considerable heterogeneity."3 The "necessity of the whole" is
nothing other than the connection between nature, which is given, and
freedom, which is commanded, and this connection must present itself as
purposiveness. .
Here, however, we are dealing with nothing more than the "higher
cognitive powers," which are themselves at the "basis of philosophy."4 As
such, they designate and circumscribe the different kinds of cognition: of
the object (understanding); of freedom (reason); and of purposiveness (the
faculty of reflective judgment) . But these types of philosophical knowledge
are not yet ways of apprehending representations. To each kind of knowl
edge there corresponds a state of "mind ( Gemiit)": "cognition" stricto sensu,
"desire," and the "feeling of pleasure and displeasure."5 It follows that
philosophical knowledge, in its systematic unity, will be "cognition" only
in a sense that is very broad and above all not identical to itselE Either it is
a question of ("theoretical") cognition of objects (where in cognizing one
cognizes oneself as restricted to experience), or of ("practical") cognition of
the will (where in cognizing one recognizes oneself as free), or else of a
third kind of relation to representations, which is the "feeling of pleasure
and displeasure."
The Kantian Pleasure System 201
Only the first two "powers" are actually called powers ( Vermogen)
here. The third is termed a "feeling," thereby conferring on it from the out
set, by its very name and by the disymmetry of the appellation, a distinct
tonality, which I shall term that of the "passive power." In consequence, the
tripartite distinction with which Kant opens section III of the First Intro
duction rapidly turns into a bipartite one. On the one hand, there are rep
resentations that "are referred merely to the object and to the unity of con
sciousness these representations [contain] ," just as there are representations
considered "as cause of the actuality of the object" in accordance with that
other "unity of consciousness," the will (or desire) : in both, these concern
the relation of the object to the subject. On the other hand, there are rep
resentations that are "referred merely to the subject,'? and thus to the feel
ing of pleasure and displeasure.6 Here representations are not just "mine";
although they are representations of an object and exist only in relation to
that object (nature or freedom), they have validity because of being mine.
This is to say that they vouch for nothing but themselves, since this "mine
ness" refers to no substantial subject of appropriation. Such representations
"themselves are bases merely for . . . preserving their own existence in the
subject."7 The feeling of pleasure is the maintenance of representation for
itself, without any relation either to the object (of cognition or action) or
to the subject (of cognition or action).
(The feeling of displeasure, one should note, is the refusal or rejec
tion of this maintenance, again without consideration for cognition or ac
tion. It is undoubtedly significant that Kant should characterize feeling
solely in terms of pleasure, apparently forgetting or withdrawing the sym
metrical "displeasure." Here, though, I can't deal with this any further. For
present purposes, suffice it to say that I shall speak sometimes of "feeling,"
since in Kant typically it is the Gefohl der Lust und Unlust, the feeling of
pleasure and displeasure, which amounts to Gefohl in general, and some
times of "pleasure," since Kant often restricts himself to this half of the
dyad. In any case, the examination that I want to undertake will show just
how delicate this apparently simple matter of designation is: What, exactly,
are we talking about?)
Given the setup briefly described above, we might expect feeling to

remain carefully distinguished from the other two powers. Indeed, it is pre-
202 PLEASURE
Sented as SO distinct and separate as not to merit the title "power" at all,
since it "neither is nor provides any cognition whatsoever.'.'8 Feeling is the
noncognitive mode of combining or connecting representations and at the
same time the nonlegislative mode (lacking the legality given by either the
understanding or reason).
In fact, Kant emphasizes, while it is relatively easy to recognize "em
pirically" a "connection" between cognition or will and feeling, "this
link . . . is not based on any a priori principle."9 That some act of cogniz
ing or willing should please or displease me is an entirely contingent affair.
Consequently, the incipient "organization" we can detect here, since it is
not "baSed on any a priori principle,» does not form a "system, but only an
aggregate' of faculties. 1 0
Nevertheless, Kant feels bound to add in the next sentence that "it is
true that we can show an a priori connection between the feeling of plea
sure and the other two powers." This is a matter, he explains, of the link
between our a priori cognition of freedom with the will as the basis of this
cognition: which is nothing other than the link given in the form of the
categorical imperative. Therefore, "in this objective determination"
which is objective because it refers to an object of cognition and is at the
same time engaged in the actualization of this object in experience-we
can "find . . . something subjective as well: a feeling of pleasure." ) ) But,
Kant adds, this pleasure does not precede the will: it follows it, "or perhaps
is nothing other than our sensation of this very ability of the will to be de-.
termined by reason." Thus we shouldn't speak of a new a priori principle
here, though this is precisely what is required if the autonomy of the third
"higher power" is to be established.
There are several things that merit our attention here. First, the ex
ceptional "case"12 that Kant claims to have discovered, in order immedi
ately to challenge it, is set up in a peculiar way: with respect to the first
power, he invokes an "a priori cognition," which is cognition not of an ob
ject, but of freedom. Now this cognition, as is well known, is a knowing
(wissen) without perception or comprehension (einsehen).13 It is not of the
same order as cognition of an object, even though it is itself cognition of a
fact of experience and as such scibile. 14 Only a certain distortion, therefore,
allows Kant to claim to be speaking about the first, cognitive power here.
If we are dealing with a power, then it is the power of a paradoxical "cog
nition," one lacking an object, or having an object on�y in the needing-to
be-an-object of its object itself (namely, nature under the law of freedom) .
The first power, therefore, appears here at best in an amputated form, lim
ited to a cognition of concepts without intuition-or else, as cognition
whose intuitions have peculiar characteristics that are not those of space
and time . . . In such a cognition, . in any event, nothing is known (and
nothing is theoretical) other than the practical determination of reason.
However, if there is something like an intuition to which some cog
nition corresponds, if there is something which can be grasped, perceived,
or felt (eingesehen), then this might well be something along the lines of the
feeling that Kant introduces here. But he adds that this feeling plays no
role in the a priori constitution of the practical determination of reason;
were it to do so, it would run counter to the autonomy of that determina
tion. The "connection" between the first two powers remains at least in
complete, or as if one-sided, and quite a lot is needed if they are to be "con
nected" with the third. (Iris worth noting that in both instances Kant uses
the word Verknupfung, '"knotting together," although the translation uses
.
"connectlon" or "1·tnk. ") .
We know that the feeling that cannot but follow from the moral law
is respect. What Kant says here about the secondary status of feeling fits
with what he says in the Critique ofPractical Reason, in the section "On the
Incentives of Pure Practical Reason."15 He also says in that section, though,
that this feeling, which belongs to "reason," is "the only one that we can
cognize completely a priori and the necessity ofwhich we can discern [ein
sehen]."16 In the Introduction, however, this eimehen seems somewhat
blurred or cOhfused by Kant's hesitation about the nature of the feeling in
question ("or perhaps [it] is nothing other than"). Moreover, respect is not
mentioned explicitly, and the allusive circumlocution that could only refer
to it seems unsatisfactory: because it concerns a "feeling ' of pleasure," a
'
quality that the second Critique seduloUsly denies to respect: "So little is re
spect a feeling ofpleasure that we give way to it only reluctantly with regard
to a human being." Equally, however, there is "so little displeasure is there
in it that . . . one can never get enough of contemplating the majesty of
this [moral] law."17
Be that as it may, respect is clearly the incentive of pure practical rea
son. In the Introduction, the anonymous feeling which stands in for or
supplements it is only the appreciation of or approbation for an "aptitude"
and does not constitute a "special feeling." From one to the other, there is
a displacement, even a discord. Respect, insofar as it is an incentive, and
thus wholly distinct from pleasure and pain, produces nothing less than an
204 PLEASURE
"interest which we call moral" This interest is pure because the feeling "de
pends on the representation of a law only as to its form and not on account
of any object of the law" :18 respect thus behaves (or structures itself) like a
pleasure, that is, like the self-relating of a representation which contains in
itself the grounds for its own continued existence . . .
In §37 of the Critique ofJudgment Kant presents the same argument
for depriving feeling of any determinate apriority:
I cannot connect a priori a definite feeling (of pleasure or displeasure) with any
representation, except in the case where an underlying a priori principle in reason
determines the will; but in that case the pleasure (in moral feeling) is the conse
quence of that principle, and that is precisely why it is not at all comparable to the
pleasure in taste.19
Though they differ in character, the two different sorts of pleasure never
theless share the same name, which suggests, despite everything, a close
natural kinship. In §I2 Kant attempts an awkward variation on this argu
ment, describing respect as "a special and peculiar modification of the feel
ing of pleasure and displeasure which does seem to differ somehow from
both the pleasure and displeasure we get from empirical objects."2o "Mod
ification" implies some commonality of substance.
Now this commonality characterizes a very odd sort of apriority, ad
umbrated in §I2. The a priori ruled out in the connection of pleasure with
representation is that causality. That some feeling is the effect of a repre
sentation is something that "can never be cognized otherwise than a poste
riori " (whether that feeling is "one arising from the pathological basis,
agreeableness," or "one arising from the intellectual basis, the conceived
good," the latter, as we know, being only the consequence of a "postu
late").21 Yet there is a pleasure which, without being the effect of a repre
sentation, is just this same representation relating to itself by means of an
"internal (final) causality." This is the "state of mind of a will determined
by something or other," and thus the state par excellence of the categorical
imperative. This state is "in itself already a feeling of pleasure," rather than
being the cause of some affection or other. Pleasure is always the delight
(jouissance) in itself of a representation, that is, of a "state of mind" in its
pure form. But this pleasure can either be "merely contemplative" or "prac
tical." Which is to say that the representation can either be that of a
"merely formal purposiveness in the play of the cognitive powers" or that
of the will.
",I
,. .
The K£mtian Pleasure System 205
The two " a priori pleasures" are distinguished from one another
solely by two forms or states of mind, which are themselves just two modes
of self-relation: representation as an end in itself, or representation as cause
of its' own actuality. At this point, the two pleasures constitute a system in
the strongest sense: the system ofthe cause and the end of reason for itself
But it is precisely here that Kant finds it necessary to invoke once
again a rigorous distinction between the two pleasures in order to stave off
the possibility that one might contaminate the other or, rather and above
all, that a pure will might be contaminated by a pure affection. This dis
tinction entails that the apriority of respect be regarded as not comparable
with that which it most resembles. What cannot be compared to it is this:
although in respect everything takes place as with pleasure (or pain), noth
ing can be allowed to cause pleasure or pain. We find in respect the form
or structure of pleasure, but not the taste or flavor.
. In order to cut short an analysis that really demands almost endless

refinement,22 we could say that pleasure is certainly not connected it priori
to the power of desire, but that it is instead-what is at once less and
more-included in it a priori as rejected or forbidden pleasure, or as that
singular pleasure, within reason, to which the a priori banishment of plea
sure itself gives birth.
Thus Kant's complicated and awkward discussion of the possibility,
which he ultimately dismisses, of an "a priori connection" plays a highly
ambiguous role. What it takes back with one hand, it gives with another,
"surreptitiously" there is something about pleasure or, if one dare say so, a
"principle of pleasure," that is not entirely foreign to pure reason's power of
desire. There is a trace of the third power in the second. .
Equally, though, we have seen that the power of cognition is present
in this connection only in a limited and ambiguous manner. At the very
least, it concerns only the cognition of freedom, which is a knowing with
out objective content (the only cognition of this kind). And yet, in show
ing us this side of the first power, Kant's text itself allows us to find a hint
'
of a pleasure of a different kind.
In section VI of the published Introduction. to the Critique ofJudg
ment, we are told that "we do not find that the concurrence of our percep
tions with the laws governed by universal concepts (the categories) has the
206 PLEASURE
slightest effect upoxi our feeling of pleasure; nor can there ever be any such
effect, because the understanding proceeds with these laws unintentionally,
by the necessity of its own nature. "23 This "concurrence" with laws is a
mere Zusammentrejfen, an encounter, and not a Zusammenhang, or inter
'
nal organization (one of the leitmotivs of the First Introduction). Further
more, says Kant, "it is a fact that when we discover that two or more het
erogeneous empirical laws of nature can be unified [ VCreinbarkeit] under
one principle that comprises them both, the discovery does give rise to a
quite noticeable pleasure, frequently even admiration, even an admiration
that does not cease when we have become fairly familiar with its object."24
Thus Kant announces the motif of a supreme pleasure in purposiveness,
which reappears, in the guise of "admiration," in the dosing pages of the
third Critique.25 There, admiration, which is both the support of and sup
plement to the thinking of purposes, is said to have something about it
"similar to. a religious feeling" and, as such, seems to "affect the moral feel
ing (of gratitude and veneration toward the cause we do not know), be
cause we judge in a way analogous to the moral way."26
Cognition is thus entitled to expect a specific pleasure, constrained,
needless to say, by the conditions of the reflective judgment through which
purposes are posited, but passing beyond the theoretical so as to effect,
again in strictly analogical fashion, a kind of reinforcing of "moral feeling"
and, by extension, of the pure incentive of practical reason: as ifsomething
in the final purpose was susceptible of being cognized in order to deter
mine the will. This something is certainly not unknowable freedom-but
neither is it simply its opposite. Rather, it must be the knowledge of free
dom as a knowing delighting in itself
But th�s simple representation of purposiveness and of such a plea
sure under an analogical or "symbolic" condition cannot itself be repre
sented as a delight on the part of cognition if the latter did not, as it were,
contain the seeds of it from the very beginning. At least this is what Kant
goes on to suggest in the Introduction:
It is true that we no longer feel any noticeable pleasure resulting from our being
able to grasp nature and the unity in its division into genera and species that alone
make possible the empirical concepts by means of which we cognize nature in
terms of its particular laws. But this pleasure was no doubt there ai: one time, and
it is only because even the commonest experience would be impossible without it
that we have gradually come to mix it in with mere cognition and no longer take
any special notice of it. 27
There was once, there necessarily must have been, therefore, a primitive
pleasure in cognition. Granted, Kant is speaking here only about cognition
through "empirical concepts" and "particular laws," and not about the cog
nition through "universal concepts" to which he referred a few lines earlier.
But the two are not easily separated. Besides, we can liee just how hesitant
Kant's text is: he coordinates an ability to "grasp nature," which we can as
sume corresponds to a general cognition characteristic of the understand
ing, with a "unity in its [nature's] division into genera and species," which
does not stem from the understanding alone but is, on the contrary, the
occasion for the critique of the power of judgment. Here mathematico
physical cognition is distinct neither from chemico-biological cognition
nor from culture and taste, and the analogy links up in some manner to
determination . . .
If, from the point of view of the object, the cognition produced by
determinant jt!.dgments has nothing to do with the cognition that follows
from reflective judgments-no more than mechanism has to do with pur
posiveness-the purposive unity of nature nevertheless presupposes, as its
minimal condition, the unity of a nature in general, the "a priori unity
[without which] no unity of experience, thus also no determination of the
objects in it, would be possible."28
So the "commonest experience" to which Kant refers is not, in its
generality and its principle, divisible into a priori and a posteriori experi
ence (into "possible experience" and the empirical). Rather, it is a matter of
that which, in the a priori, aims from the outset at the a posteriori as such:
the givenness of the material, sensible manifold, its heterogeneity, and the
problematic character of its unity qua purposive unity. This apriority,
which is neither that of the forms of intuition nor that of the categories
nor of schematism itself-is the supplementary apriority of a feeling: of the
representation of unity in general delighting in itself. Without this we
wouldn't even have begun to be subjects of some experience or other. If the
most general condition of the cognition of the understanding is the synop
sis of intuition in conjunction with categorial synthesis,29 it is necessary
nonetheless to suppose-and this is something that the Critique ofPure
Reason doesn't do-the existence of something like an. incentive for the ac-
tivity of cognition.
Of course this incentive has to be located in cognitive activity itself,
specifically in the relation of cognition to itself, which is to say, in the rela
tion to itself of representation qua combination, or in the relation to itself
208 PLEASURE
of the combination of representations. But there has to be an incentive. It

isn't enough for experience to be possible; the mind has to put itself in mo
tion in order to actualize this possibility. And that motion cannot take
place without-or as:-a feeling, and not just as the exposition of the prin
ciples of the possibility of experience.
Everything happens here as if the Critique ofJudgment has, discreetly,
provided the transcendental incentive, if we can call it that, for the experi
ence whose a priori conditions of possibility had been established in the
Critique ofPure Reason, including the bounds of its legitimacy. Everything
happens as if, on the one hand, the critical concern with the demarcations
in cognition had left the incentive and motivating force behind the act of
cognizing shrouded in obscurity, but on the other hand, as if the question
concerning such a motivating force-rarely posed in itselfwherever theory,
and not freedom, is the "keystone of the whole . . . system of pure rea
son"30-reappeared here once the interests of a mere critique of possible
cognition had been superseded. If, therefore, there is indeed a trace of
pleasure in the first of the "powers of the human mind," it is not a mere
residue, but an indication that reason is impelled or driven toward a de- .
light beyond cognition: a delight in itseI£
Given this, we might well be surprised to see that Kant, by asserting
that the understanding experiences no "feeling of pleasure" when it "pro
ceeds . . . unintentionally [and] by the necessity of its own natu�e," seems
unaware that this procedure of the understanding, precisely because it en
tails the simple conformity of the understanding's activity with itself, pro
vides exactly the conditions which constitilte pleasure . . . But perhaps that
is exactly what he means when he speaks of a lost, forgotten, · or muted
pleasure.
(Again, we would need to ask whether it is possible to find, on the
side of theoretical pleasure, a counterpart to what practical pleasure pre
sented to us as a connection with theoretical representation, of which, as I
remarked earlier, it appears as a first power limited to concepts without in
tuitions. No doubt one would find this symmetrical counterpart in the
universal communicability of aesthetic pleasure:31 this sensible and prag
matic, if not strictly speaking practical, universal is like a universal of the
understanding cut off, this time, from its own legislation.)
Once the active and disruptive presence of pleasure in the two pow
ers of reason, properly so called, is recognized, we can better understand
the full implications of the "transcendental definition" Kant provides, once
he has set up aesthetic judgment as the relation of a representation to the
feeling of pleasure and displeasure:
A definition of this feeling in general terms, without considering the distinction as to

whether it accompanies thefeeling ofmeaning [SinnesempfinduniJ; or accompanies re
flection, or the determination ofthe wil4 must be transcendental. It could be formu
lated thus: Pleasure is a mental state in which a representation is in harmony with
itself and which is the basis [ Grund] either for merely preserving this state itself . . .
or for producing the object of this representation. On the first alternative, the judg
ment about the given representation is an aesthetic judgment of reflection; on the
second, a pathological aesthetic judgment or a practical aesthetic judgment.32
. .
This tripartition of aesthetic judgment will have been abandoned in the

Critique ofJudgment, at least as far as its third term is concerned, and this
proves, once again, just how difficult Kant finds it to maintain simultane
ously a strict critical separation of "powers" and what is nothing less than
reason's single and most intimate motivating force, its Trieb as Triebfeder
(incentive) for its highest vocation and, ultimately, as the Grund of its very
being as reason.
Pleasure, therefore, as it appears in the Critique 4Judgment, is less a
third power than the exhibition for itself of an active prin�iple-if not the
sole really active and motivating principle-at the heart of the two theo
retical and practical powers. Considered in isolation, pleasure displays only
the form-internal agreement, self-preservation and delight in itself-of
the ultimate and intimate incentive of reason in its double guise. This form
is active in theoretical reason, though it appears there only as effaced or lost
through habit, just as it is active in practical reason, but appears only as
curbed or sublimated in obedience.
Rather, pleasure is active as theoretical reason and as practical reason,
but this activity itself requires that pleasure be denied or forgotten: in sum,
it requires that pleasure be repressed in two different but parallel ways.
This repression of pleasure is necessary so long as the main concern of cri
tique is to ensure that reason does not delight immediately in itself, in
metaphysical Schwiimerei and in the claim to know intuitively the Good
and the Kingdom of Ends. This double repression is the condition that
makes possible and necessary the exhibition of pure pleasure as the princi
ple of a third faculty or power, which is charged not just with maintaining
210 PLEASURE
the critical separation between the other two but also, if one can say so, with
generating reason's sole,incentive, under the auspices of a pleasure that is ir
resistibly both one and many, self-identical in its foreignness to itselE
If the concept of repression runs the risk of bringing in something
too distant or anachronistic here, and uselessly raises the question of what
it is that exercises repression, we might speak of something being given up
or relinquished: Kantian reason relinquishes or is deprived of delight in it
self-but it does so or is so precisely in order to make dear that its voca
tion lies in the act of enjoyment or delight that Spinoza terms "beatitude"
and "joy" and that shows up here as division in and of itselE
Hence pleasure organizes the system and is at the heart of it. Or,
more exactly, the heart of the system, what articulates it and puts it into
play, what gives it the internal consistency and purposiveness that makes
up genuine systematicity. is the feeling of pleasure and displeasure.33 This
is to say that, if "pleasure" is always the value of the highest vocation, its
deep structure is that of self-relating, and this self-relating, insofar as it is
not given (but rather, in a way, sets itself in motion for itself) , displays in
a fundamental way the ambivalence of the permanent possibility of discord
or disagreement. To take pleasure or displeasure in itself: Kantian reason
falls prey to this anxiety. This is why its whole predicament is summed up
in the famous formulation at the end of the Critique ofPractical Reason:
"the starry heavens above me and the moral law within me' are the twin ob
je'cts and sources of an "ever new and increasing admiration" which, at one
and the same time, "annihilates, as it were, my importance as an animal
creature, which must give back to the planet . . . the matter from which it
came" and "infiriitely raises my worth as an intelligence by my personality,
in which the moral law reveals to me a life independent of all animality."34
This anxiety can appear narcissistic, and undoubtedly it is: though
not in the sense either of a vain indulgence or an auto-eroticism. It is nar
cissistic in the sense that such identification is necessary, and to the extent
that the absence of this identification (that of an intuitus originarius)
grounds Kantian reason so dramatically in a double divestiture-a forget
ting and a forbidding-of delight in itself, its principle, and its purpose.
Translated by Jonathan Derbyshire
11
The Sublime Offering
The sublime is in fashion.l All fashions, in spite of or thanks to their

futility, are means to the presentation of something other than fashion: they
are also of the order of necessity or destiny. For destinies, indeed, fashions
are perhaps only a particularly secret and discreet way of offering them
selves. What then offers itself or what is offered in this recent fashion of the
sublime? I will attempt to answer: the offering itself, as the destiny of art.
But the fashion of the sublime has the supplementary privilege of be
ing extremely old. It is at l�ast as old as Boileau's translation of Longinus
and the distinction Boileau drew between "the sublime style" and the sub
lime taken in the absolute sense. From that point on, what had once been,
under the names of hypsQS or sublimitas, a category of rhetoric2-the dis
coutse that specialized in subjects ofgreat elevation-become a concern, a
demand, an adoration, or a torment, more or less avowed but always pres
ent, for aesthetics and philosophy, for philosophy ofaesthetics and philos
ophy in the aesthetic, for the thought of art and for art as thought. In this
sense, the sublime forms a fashion that has persisted uninterruptedly into
our own time from the beginnings of modernity, a fashion at once contin
uous and discontinuous, monotonous and spasmodic. The "sublime" has
not always taken this name, but it has always been p�esent. It has always
been a fashion because it has always concerned a break within or from aes
thetics (whether "aesthetics" designates taste or theory). And this break has
been willed, intended, evoked, or demanded more than it has been truly
revealed or demonstrated: it has been a kind of defiance with which aes-
212 PLEASURE
thetics provokes itself-"enough beauty already, we must be-sublime!" But

at the same time, it has not been a matter of mere fashion, as I said, but ne
cessity itself
The motif of t4e sublime (the name and category of which are per
haps not even up to the standards of what they indicate, being too used up,
already or still too aesthetic, too ethical, too virtuous, too elevated, in
short, too sublime, and I will return to this below)-the motif of the sub
lime, then, announces the necessity of what happens to art in or as its
modern destiny. Art itself is doubtless that which is happening par excel
lence to us (to us others, the Occidentals), that which is offering us our
destiny or deranging ,our history. But in the sublime, art itself is deranged,
offered to yet another destiny; it has its own destiny in a certain sense out
. side of itself The sublime is tied in an essential way to the end of art in all
its senses: that for which art is there, its destination or te/os, �d the cessa
tion, overcoming, or suspension of art.
There is no contemporary thought of art and its end which does not,
in one manner or another, pay tribute to the thought of the sublime,
whether or not it explicitly refers to this thought. One coul� research and
retrace the genealogies, filiations, and transmissions, from Walter Ben
janiin-whose role is certainly decisive-to ourselves. But necessity is al
ways deeper than genealogies, beginning with the necessity that related
Benjamin himself to Kant, or with the necessity that related Kant, and all
of the others with him, to the destiny or task of art in thought.3
I will not explore this history or network. I will content myself with
placing here, by way of opening, several fragments that ought to speak for
themselves:
For the sake of the unity which the veil and that which is veiled comprise in it, the
Idea can be essentially valid only where the duality of nakedness and veiling does
not yet obtain: in art and in the appearances of mere nature. On the other hand,
the more distinctly this duality expresses itself, in order finally in man to reach its
greatest force, the more this becomes clear: in veil-less nakedness the essentially
beautiful has withdrawn and in the naked body �f the human being a Being be
yond all beauty is attained-the sublime, and a work beyond all images
[Gebilden]-the work of the creator. (Benjamin4)
In the work, truth is at work and 'therefore not merely something true. . . . The ap
pearance arranged in the work is the beautiful. Beauty is a mode of being and of
presence of truth qua unveiling. (Heidegger5)
The Kantian theory of the sublime describes . . . an art which shudders within it-
The Sublime Offering 213
self: it suspends itself in the name of the content of truth deprived of appearance,
but without, qua art, renouncing its character as appearance. (Adorno6)
Just as prose is not separated from poetry by any threshold, art expressive of an
guish is not truly separated from that expressive bfjoy . . . it is no longer a matter
of dilettantism: sovereign art accedes to the extremiry of the possible. (Bataille7)
It would still be necessary to investigate whether this placing-in-question of art,

which the most illustrious part of the art of the past thirty years represents� does not
presuppose the sliding, the displacement of a force at work in [puissance au travail
dans] the secrecy of works and refusing to step into the light of day. (BlanchotB)
What is at stake in the sublime is a suspension of art, a placing in
question of art within art itself as work or as task. In the name of the sub
lime, or under the pressure of something that often (but not exclusively)
has carried this name, art is interrogated or provoked in view of something
other than art. More precisely, it is a matter of a double suspense or a dou
ble placement in question. On the one hand, it is aesthetics as a regional
philosophical discipline that is refused in the thought of art seized by the
sublime. Kant is the first to do justice to the aesthetic at the heart of what
one can call a "first philosophy" : but he is also, and for this very reason, the
first to suppress aesthetics as a part or domain of philosophy. As is well
known, there is no Kantian aesthetics. And there is not, after Kant, any
thought of art (or of the beautiful) that does not refuse aesthetics and in
terrogate in art something other than art: let us say, truth, or experience,
the experience of truth or the experience of thought. On the other hand, it
is art that suspends itself and shudders, as Adorno says, art that trembles
on the border of art, giving itself as its task something other than art,
something other than the world of th� fine arts or than beautiful works of
art: something "sublime."
It is as if "aesthetics" as object, as well as the aesthetic object, had dis
solved upon the touch of philosophy (and it makes no difference whether
they have offered themselves to philosophy or whether philosophy has at
tempted to conquer them by violence), to leave room for something else
(nothing less, in Kant, than the sublime destination of reasori itself: free
dom). But it is also as if, at the same time, the captu�e and flight of these
objects had required philosophy to think of both art and itself otherwise.
In the suspension of art, the task of thought is in question.
But it is in question in such a manner that it does not take over the
relay where art leaves off, where art would be both suppressed and con-
214 PLEASURE
served in the "true" presentation of truth. Such a thought of the relay, or

of the sublation [re/eve, AujhebungJ of art by philosophy forms the most
visible part of Hegel's thought of the end of art. But the essential point is
precisely that the claim of the sublime forms the exact reverse of the sub
lation of art.9
The thought of the end of art as its sublation and, consequently, as its
completion or achievement-which suppresses art as art and consecrates it
as philosophy, which suppresses philosophy as discourse and conserves it as
art, as the pure art of pure thought-such thought reverses the sublime.
This does not mean that there are two symmetrically opposed ways of
thinking art. It means rather that there is one type of thought that reab
'
sorbs art and another that thinks it in its destination. The latter is the
thought of the sublime. The former thought, that of Hegel-philosophy as
such-does not in fact think art as destiny or as destination but rather the
reverse, the end of art, its goal, reason, and accomplishment:. It puts an end
to what it thinks: it thus does not think it at all, but only its end. It puts an
end to art by preserving art in and as philosophy. It puts an end to art in
the presentation of truth. To be sure, such thought views art as having
heretofore comprised this presentation-as a representation and perhaps as
presentation in general, always sensible, always aesthetic-but it views art
as no longer adequate to this task of representative presentation now that
truth has become capable of presenting itself on its own. Thus the end of
art is attained, and art is properly sttblated as presentation, in the presenta
tion of the true. It is suppressed as art and preserved as pure presentation.
What is the case then with art as art? What r�mains of it and where?
Art as such--as all that is designated as "art" in Hegel or elsewhere and,
for example, as figuration or expression, as literature or painting, as form
or beauty, as work or value-art as such can remain nowhere but in the
element of representation, the end of which was presentation itself. The
art that remains there (if such an "art" exists, or if it still merits this name),
the arnhat conceives itself as representation or as expression is in fact a
finite art-finished, dead. But the thought that finished it off suppressed
itself as the thought of art. For it never thought that which it brought to
completion.
It never thought what it brought to completion because art, in truth,
was already no longer dwelling in the element of (re}presentation. Perhaps
art never served to (re}present except in the philosophical representation of
art. Art was elsewhere: Hegel (at least a certain Hegel) wasn't aware of it,
The Sublime Offiring 215
but as for Kant, he had begun to recognize that what was at stake in art was
not the representation of the truth, but-to put it briefly-the presentation
offreedom. It was this recognition that was engaged in and by the thought
of the sublime. Not only was art not completed by philosophy in this
thought, but art began to tremble there, suspended over itself; unachieved.,
perhaps unachievable, On the border of philosophy-which art thus made
shudder or interrupt itself in its turn;
For Kant, the beautiful and the sublime have in common that they
have to do with presentation and only with presentation.1O In both noth
ing plays itself out but the play of presentation itself; without any repre
sented object. (There ought therefore to be a concept, or an experience, of
presentation that would not be submitted to the general logic of (re)pres
entation, that is, of the presentation by a subject and for a subject: basi
cally, the entire question is there) . Oh the occasion of an object of the
senses, the imagination-which is the faculty of presentation-plays at
finding a form in accord with its free play. It presents (to itself) this: that
there is a free accord between the sensible (which is essentially multiple or
manifold) and a unity (which is not a concept, but rather free indetermi
nate unity) . The imagination thus presents the image, or rather that there
is (such a thing as) "image" (Bild) . The image here is not the reptesenta-
tive image, and it is not the object. It is not the placing-in-form of some
thing else but form forming itself; for itself; without object: fundamentally,
art, according to Kant, represents nothing in either the beautiful or the
sublime. The "imagination" does not signifY the subject who makes an im
age of something but rather the image imaging itself; not as a figure of
. something else but as form forming itself; unity happening upon mani
foldness, coming out of a manifoldness, in the manifold of sensibility, sim
ply as unity without object and without subject-and thus without end. It
is on the basis of this general situation of free aesthetic presentation that
one must attempt to appreciate the respective stakes of the beautiful and
the sublime.
Kant calls the free Bild that precedes all images, ail representations,
and all figurations (one is tempted to say the nonfigurative Bild) a schema
in the first · Critique. He says in the third Critique that aesthetic judgment
is nothing other than the reflexive play of the imagination when it
"schematizes without concepts" : that is, when the world that forms itself;
that manifests itself; is not a universe of objects but merely a schema
(skema, "form," or "figure") , merely a· Bildthat makes a "world" on its own,
216 PLEASURE
because it forms itself, because it designs itself The schema is the figure
but the imagination that figures without concepts figures nothing: the
schematism of aesthetic judgment is intransitive. It is merely the figure that
figures itself It is not a world nor the world that takes on figure, but the
figure that makes woHd. It is perhaps indissociable from the fake, the fic
tion, and the dream of a Narcissus: but all of that comes only after the fact.
In order that there should be these figures and this scene of representa
tions, there must first be the throw, the surging and beating, of a design, a
form, which figures itselfin giving itSelf figure, in conferring upon itself a
free unity. It confers this unity upon itself, or it receives this unity-for at
first it does not have any unity at its disposal. Such is the essential charac
teristic of imagination, of Einbildung operating without a concept: imagi
nation is unity that precedes itself, anticipates itself, and manifests itself,
free figure prior to any further determination.
From this starting point-that is, barely having entered into the first
modern philosophical assignation of the aesthetic-one can finish very
quickly if one likes. By putsuing the logic of this initial constellation of the
aesthetic schematism, one can very quickly arrive at the end of ari:. Indeed,
in a sense one must pursue it if only in order to discover that it can func
tion only by ignoring the sublime, which nothing I have said thus far has
distinguished as such.
In the first Critique the schematism was said to be a "technique hid
den in the depths of the soul." Does the secret of this technique unveil it
self in the aesthetic schematism, which presents essentially the pure form
of the schematism? It is tempting to think so. The schematism would then
be aesthetic. The technique of the schema would be an art. After all, it is
the same word, ars or die Kunst. Reason would be an artist, the world of
objects a work-and art would be the first or supreme technique, the cre
ative or self-creative technique, the technique of the unity of subject and
object, unity positing itself in the work.. One can believe this and proceed
to draw the consequences.
One will very quickly obtain two versions of a thereby completed
thought of the schematism: either the version of an originary and infinite
art, a poetry never ceasing to give itself form in giving form to the world as
to thought-and this is the romantic version-or else the version of a
technique of originary judgment, which divides judgment in order to re
late it to itself as unity and so to give it its absolute figure-and this is the
Hegelian version. Either aesthetics sublates philosophy or the converse. In
both cases, the schematism is understood (its secret revealed) and accom
plished: art or technique-and doubtless, according to the play of com
plicitous exchange between the tw() versions, art and technique, technique
of art and art of technique-the schema is the originary figure offiguration
itself- That which figures (or that which presents, for here, figuring is pre
senting), the faculty of figuration or of presentation has itself already a fig
ure, and has already presented itself It is reason as artist or technician,
which comes down to the same thing: Deus artifex.
Thus, the imagination that schematizes without a concept would
schematize itself of itself in aesthetic judgment. And this is certainly, in one
sense, what it does: it presents itself as unity and it presents its unity to it-
. self, presenting nothing other than itself, presenting the faculty of presen
tation in its free play, that is, again, presenting the one presenting, or rep
resenting, absolutely. Here, the presenting one-the subject-is the
presented. In the beautiful and in the sublime-which are neither things
nor qualities of objects but judgments, and more precisely, aesthetic judg
ments, i.e., the proper judgments of sensibility when it is determined nei
ther by concepts nor by empirical sensation {which constitutes the agree
able, not the beautiful)-the unity of spirit, the spirit as unity, and the
accord of the faculties operated in the imagination or, more precisely, as
imagination presents itself to itself
It is not so much that art comes to find its reason or reasons here but
rather that Reason takes possession of art in order to make of it the tech
nique ofits self-presentation. This self-presen,tation is thus the pr�sentation
of the· very technique of reason, of a technique conceived as the primary or
ultimate nature of reason, in accordance with which reason produces, op
erates, figures, and presents itself on its own. The schematism is on this ac
count the anticipation of the unity of presentation (or of that which pre
sents) in presentation itself (or in the presented), an anticipation which
doubtless constitutes the only possible technique (the only Handgriff,
"sleight of hand," as the first Critique puts it) by means of which a presen
tation, in this strict philosophiC sense, could ever take place. Bow would I
trace any figure at all, if I did not anticipate its unity, or more precisely, if!
did not anticipate myself, the one who presents this figure, as its unity?
There is a kind of fore-sight or providence at the heart of reason. The
schema is reason which fore-sees arid prefigures itself It is thus of the na
ture of the schematism, this artistic coup de main of reason, to be "hidden
in the depths of the soul": the prefiguration escapes in its anticipation. And
218 PLEASURE
it is even basically the hidden, secret character of the schematism that un
veils i.t for what it is: the technique, already dissimulated behind all visible
figures, of figurative or presentational anticipation.
. In this "schematism without concepts," in this "free legality" or in
this "sketch" of the 'Yorldl l for the free subject, the cosmetic is the antici
pation of the cosmic. The beautiful is not here a quality, intrinsic or ex
trinsic, subjective or objective, it is more than a quality. Indeed, it consti
tutes the status and the very being of the subject which forms itself and
which presents itself in order eo be able to (re)present for itself a world of
phenomena. The aesthetic is itself the anticipation of knowledge, art is the
anticipation of technical reason, and taste is the schema of experience-the
schema or the pleasure, for precisely here the two are confounded. Did not
Kartt write that a primitive pleasure must have presided over the very first
knowledge, "a remarkable pleasute, without which the most common ex
perience would not have been possible"?12 There is a pute, painless pleas
ure, then, at the philosophical origin of knowledge and world domination.
(That there is no admixture of pain in this pleasure implies �hat the sub
lime is not yet involved, a point to which I will return below.) This pleas
ure consists in the satisfaction provided by unity in general, by (re)discov
ering (re)union of the manifold, the heterogeneous, under a principle or
law. Anticipation arises out of or resides within this enjoyment (jouissance]
of unity which is necessary to reason. Without unity, the manifold is noth
ing but chaos and vertiginous danger. United with its unity-a unity
which one must therefore have anticipated in order to be able to rediscover
and (re)present it, and a unity thus technically and artistically produced
the manifold becomes enjoyment: at once pleasure and appropriation.
Enjoyment, according to Kant, belongs to the agreeable, which must
be carefully distinguished from the beautiful. The agreeable is attached to
an interest, whereas the beautiful is not. The beautiful is not linked to any
interest, for in aesthetic judgment I do not depend at all on the existence
of the object, and what is important is merely "what I discover in myself"
on the occasion of this object. 13
But does not self-enjoyment arise out of a supreme and secret inter
est of reason? The disinterestedness of the judgment of beauty, caught in
the logic of the ratio artifex, is a profound interestedness: one has an inter
est in the being-anticipated of unity, in the (pre)formation of the figure, in
the avoidance of chaos.
Here, the category of the beautiful begins to reveal itself in its ex-
-
treme fragility. The. beautiful and the agreeable already have in common
that they "please immediately," in distinction to the good, on the one
hand, and the sublime, on the other. If one must also establish · a rapport
between them in terms of interest-interest in the object in the case of the
agreeable and interest in oneself in the case of the beautiful (and are these
two things really so different?)-then one will have to say that the beauti
ful too involves enjoyment, the enjoyment of anticipation and self-presen
tation. The beautiful in Kant, and perhaps all simple beauty since Kant,
arises from the enjoyment of the subject, and indeed constitutes the sub
ject as enjoying itself, its unity and its free legality, as that artist-reason
which insures itself against the chaos of sensible experience and clandes
tinely re-appropriates for itself-thanks to its "hidden ad'-the satisfac
tions that it had lost with God. Unless-even more brutally-it was the
subject-artist (the subject of art, philosophy, and technique) who ravished·
God of His enjoyment.
When it presents itself in philosophy, or rather when it anticipates it
self in philosophy (anticipating, in Kant's time, the essentially technical '
and artificial character of modern reason), aesthetics is suppressed twice in,
a single instant: once in the end of art and once in the enjoyment of imag
inative reason. The two are the same, as one can clearly see: art meets its
end, for it consists in the enjoyment in which it achieves itself Kant is not
in this the other of Hegel: in both, what is at stake in the aesthetic is pres
entation. The presentation of truth. rests on the truth of presentatiori,
which is the enjoyment of prefigured unity. The Hegelian spirit does not
enjoy itself in any other way: the Kantian imagination is what it enjoys. Or
again, the Hegelian spirit is itself the final self-appropriating enjoyment of
the Kantian imagination. And philosophy gets offon art, makes of art and
the beautiful its own enjoyment, suppresses them as simple pleasures, one
could say, and preserves them as the pure self-enjoyment of Reason. The
Aufhebung of art in philosophy has the structure of enjoyment-and in
this infinite structure, art in its turn enjoys itself: it can become, as philo
sophic art, as art or technique of philosophical presentation (for example,
dialectical, scientific, or poetic presentation), the orgiastic self-enjoyment
of Spirit itself.
Once upon a time, the beautiful was "the splendor of the true": by a
singular perversion, which it is difficult to consider without unease, the
splendor of the true has become the self-enjoyment of reason.
This is perhaps the philosophic fate of the aesthetic as well as the aes-
220 PLEASURE
thetic fate of philosophy. Art and beauty: presentations of the true, which
uses them for its own enjoyment, anticipates itself in them, and finishes
them off.
But far from finishing, we have hardly begun by proceeding thus. We
have not even begun to deal with the sublime, and art, in Kant, does not
offer itself to analysis before one has passed by way of the analysis of the
sublime, which in several respects feeds into the examination of art, in par
ticular by way of the decisive motif of genius. (This is not the place to
dwell on it, but let me at least mention here that one can only thoroughly
comprehend the Kantian theory of the arts, regardless of Kant's intentions,
if one understands its dependence upon the theory of the sublime. This
dependence is manifested, for example, by the ordering of his apparently
poorly justified table of contents, which places the theory of art within the
'�alytic of the Sublime," whereas the latter was supposed to be "a mere
appendix" to the '�alytic ofAesthetic Judgments.")
One can gain access to the sublime by passing argumentatively
through the insufficiencies of the beautiful. We have just seen beauty
thicken suddenly, if I dare put it this way, into the pleasure or satisfaction
of reason. This signifies nothing other than that the beautiful is an unsta
ble category, insufficiently contained or retained in the order that was to be
properly its own (the pure presentation of presentation). The beautiful is
perhaps not quite as autonomous as it appears and as Kant would like.
Taken literally as the pure pleasure of pure presentation, the beautiful re
veals itself to be responsive to the interest of reason, which is all the more
interested because it is hidden: it satisfies itself with and is satisfied by its
power to present and to present itself It admires itself on the occasion of
its objects, and it tends, according to what is for Kant the law of all pleas
ure, to preserve its current condition, to preserve the enjoyment of its
proper Bild and Ein-bildung. Doubtless the. beautiful, rigorously consid-
. ered, is not in this state of enjoyment, but it is always about to slide into it,
to become confused with it: and this ever imminent sliding is not acciden
tal but belongs to the very structure of the beautiful. (In the same manner,
one can apply to the judgment of taste the rule applied to moral judgment:
one can never say for certain that an acdon has been accomplished by pure
morality; likewise, one can never say that a judgment of taste is a pure
judgment of beauty: it is always possible that some interest-empirical or
not-has intruded itself Even more rildically or rigorously, it is possible
that there is no such thing as a pure judgment of taste and that its disinter
est is always interested in the profound self-enjoyment of the imagination.)
However, the same instability, the same constitutive lability that
makes the beautiful slide into the agree:ible can also carry it off into the
sublime. Indeed, the beautiful is perhaps only an intermediate, ungras
pable formation, impossible to fix except as a limit, a border, a place of
equivocation (but perhaps also of exchange) between the agreeable and the
sublime, that is, between enjoyment and joy [la jouissance et la joie], to
which I will return below.
If a transport of the beautiful into the sublime is indeed the counter
part or reversal of its sliding into the agreeable-and this is what we shall
verify-and if in the agreeable the beautiful ultimately loses its quality of
beauty (for in enjoyment, in the beautiful as satisfied or satisfying, the
beautiful is finished-and art along with it), then one must expect the
beautiful truly to attain its "proper" quality only in another sort of depar
ture from itself-into the sublime. That is, the beautiful becomes the
beautiful only beyond itself, or else.it slides into the space this side ofitsel£
By itself, it haS no position. Either it achieves itself-in satisfaction, or phi
losophy-or it suspends itself, unachieved, in the sublime (and in art, or at
least in art that has not been sublated by philosophy).
The sublime forms neither a second wing of aesthetics nor another
kind of aesthetic. After all, it is rather unaesthetic and unartistic for an aes
thetic. And in the final analysis, it would seem more like an ethics, if one
holds to the declared intentions of Kant. But Kant does not seem to see
quite what is at stake when he introduces the sublime. He treats the sub..;.
lime as a mere "appendix" to the analysis of aesthetic judgment, 14 but in re
ality, the sublime represents in the Critique nothing less than that without
which the beautiful could not be the beautiful or without which the beau
tiful could be nothing but the beautiful (which paradoxically comes down
to the same thing). Far from being a subordinate kind of aesthetic, the sub
lime constitutes a decisive moment in the thought of the beautiful and of
art as such. It does not merely add itself to the beautiful but transforms or
transfigures the beautiful. Consequently-and this is what I am attempt
ing to show-the sublime does not constitute in the general field of
(re)presentation just one more instance or problematic: it transforms or
redirects the entire motif of presentation. (And this transformation con
tinues to be at work in our own day.)
222 PLEASURE
There is nothing new about the idea that the sublime represents that
without which beauty itself would not be beautiful, or would be merely
beautiful, that is, enjoyment and preservation of the BNd. It dates from the
modern (re)naissance of the sublime. Boileau spoke of "this je-ne-sais-quoi
which charms us and without which beauty itself would have neither grace
nor beauty." Beauty without beauty is beauty which is merely beautiful,
that is, merely pleasing (and not "charming"). Fenelon writes: ,"The beau
tiful which is only beautiful, that is, brilliant, is only half-beautiful." In a
sense, all of modern aesthetics, that is, all "aesthetics," has its origin and rai
son d'etre in the impossibility of attributing beauty merely to beauty and in
the consequent skidding or overflowing of the beautiful beyond itself
What'is mere beauty? Mere beauty, or beauty alone and isolated for itself,
is form in its pure self-adequation, in its pure accord with the imagination,
the faculty of presentation (or formation). Mere beauty, without interest,
concept, or idea, is the simple accord-which is by itself a pleasure-of the
thing presented with the presentation. At least, this is what modern beauty
has been or attempted to be: a presentation, that is successful and without
remainder in accord with itsel£ (At bottom, this is subjectivity qua beauty.)
In short, i� is a matter of the schema in the pure state of a schematism with
out concepts, considered in its free accord with itself, where freedom is con
fused with the simple necessity tha,t form should be adequate to its proper
form, should present just the form that it is, or should be just the form that
it presents. The beautiful is the figure that figures itself in accord with itself,
the strict accord of its contour with its design.
Form or contour is limitation, which is the concern of the beautiful:
the unlimited, to the contrary, is the concern of the sublime.
The unlimited maintains doubtless the closest, the most intimate re
lations with the infinite. The concept of the infinite (or its differe�t possi
ble concepts) gives us in a sense the internal structure of the unlimited.
But the infinite does not exhaust, the being of the unlimited, it does not
offer the true moment of the unlimited. If the analysis of the sublime
ought to begin, as it does in Kant, with the unlimited, and if it ought to
transport into itself and replay the analysis of beauty (and thus of limita
tion), it must above all not proceed simply as the analysis of a particular
kind of presentation, the presentation of the infinite. Nearly impercepti
ble at the outset, this frequently committed error can considerably distort
the final results of the analysis. In the sublime, it is not a matter of the
presentation or nonpresentation of the infinite, placed beside the presen-
.c-;
. .. :
tation of the finite and construed in accordance with an analogous model.

Rather, it is a matter-and this is something completely different-of the
movement of the unlimited, or more exactly, of "the unlimitation" (die
Unbegrenztheit) that takes place on the border ofthe limit, and thus on the .
border ofpresentation.
The unlimited as such is that which sets itself off on the border of the
limit, that which detaches itself and subtracts itself from limitation (and
hence from beauty) by an unlimitation that is coextensive with the exter
nal border of limitation. In one sense, nothing sets itself off thus. But if it
is permissible to speak of the "unlimited" as of "something" that sets itself
off "somewhere," it is because in the judgment or the feeling of the sublime
we are offered a seizure, an apprehension of this unlimitation that c�mes to
raise itself up like a figure against a ground, although strictly speaking, it is
always simply the limit that raises a figure up against a nondelimited
ground. In the sublime, it is a question of the figure of the ground, of the
figure that the ground cuts, but precisely insofar as the ground cannot con
stitute a figure and yet remains a "raising that razes" [un "enlevement"], an
unlimiting outline, along the limited figure.
The unlimited begins on the external border of the limit: and it does
nothing but begin, never to finish. In addition, its infinity is neither that of
a simple potential progression to infinity nor that of a simple actual infin
ity (or 01' "infinity collected into a whole," as Kant puts it, and he in fact
uses both of these figures or concepts of the infinite). Rather, it is the in
finity ofa beginning (and this is much more than the contrary of a comple
tion, much more than the inversion of a presentation). It is not simply the
.infinite sprawl of a pure absence offigure. Rather, the unlimited engenders
and engages itself in the very tracing of the limit: it retraces and carries off,
so to speak, "unto the ground" what this tracing cuts on the edge of the fig
ure as its contour. It retraces "unto the ground" the operation of Bin-bi/
dung: but this does not constitute a replication, even a negative replication,
of this operation. It does not constitute an infinite figure or image but the
movement cif a cutting, delineation, and seizure. The sublime will always
invoke-that is, if it is anything at all and if it can constitute an aesthet
ics-an aesthetics of movement as opposed to an aesthetics of the static or
the state. But this movement i� neither an animation nor an agitation, as
opposed to an immobility. (One could doubtless easily be misled, but it is
not a ve�sion of the ordinary-if not Nietzschean-doctrine of the couple
Dionysos/Apollo.) It is perhaps not a movement in any of the available
224 PLEASURE
senses of this word. It is the unlimited beginning of the delimitation of a

form and, consequently, of the state of a form and of the form of a state.
The unlimited gets carried away with delimiting. It does not consist by it
self in a delimitation, even if negative, for the latter would still be, precisely,
a delimitation, and the unlimited would end up having its proper form
say, the form of an infinite.
But the infinite, Kant declares, cannot be thought "as completely
given." This does not mean that Kant, contrary to what I indicated above,
has in mind exclusively a potential infinity, the bad infinity, as Hegel
. would say, of a progression without end. It means, once again, that in the
unlimitation involved in the feeling of the sublime it is not exactly a mat
ter 6f the infinite. The infinite would be merely the "numerical concept,"
to speak like Kant, of the unlimited, the "presentation" of whi�h is at stake
in the sublime. One would have to say that the unlimited is not the num
ber but the gesture of the infinite.15 That is, the gesture by which all (finite)
.
form gets carried away into the absence of form. It is the gesture of forma-
tion, of figuration itself(of Ein-bildun�, but only insofar as the formless
too stands out-without itself taking on any form-along the form that
traces itself, joins itself to itself, and presents itsel£
Because unlimitation is not the number but the gesture, or if one
prefers, the motion, of the infinite, there can be no presentation of the un
limited. The expressions that Kant does not cease to attempt throughout
the paragraphs dedicated to the sublime, those of "negative presentation,"
or "indirect presentation'," as well as all the "so to speaks" and the "in a cer
tain sense" strewn throughout the text, indicate merely his difficulty with
the contradiction of a presentation without presentation. A presentation,
even ifit is negative or indirect, is always a presentation, and to this extent
it is always in the final analysis direct and positive. But the deep logic of
Kant's text is not a logic of presentation and does not pursue the thread of
these clumsy expressions. It is not a matter of indirect pl;esentation by
means of some analogy or symbol-it is hence not a matter of figuring the
nonfigurablel6-and it is not a matter of negative presentation in the sense
of the designation of a pure absence or of a pure lack or in any sense of the
positivity of a "nothingness." To this (double) extent, one could say that
the logic of the sublime is not to be confused with either a logic of fiction
or a logic of desire, that is, again, with either a logic of representation
(something in the place of something else) or a logic of absence (of the
thing that is lacking in its place). Fiction and desire, at least in these classi-
:'::';:::".-' -: '_ :... , -_ ' __: - ._,,�:;.,," ,. c'. �..':'�..
cal functions, perhaps always frame and determine aesthetics as such, all
aesthetics. And the aesthetics of mere beauty, of the pure self-adequation of
presentation, with its incessant sliding into the enjoyment of the self, in
deed, arises out of fiction arid desire.
But it is precisely no longer a matter of the adequation of presenta
tion. It is also not a matter of its inadequation. Nor is it a matter of pure
presentation, whether this presentation be that of adequation or of inade
quation, nor is it even a matter of the presentation of the fact that there is
such a thing as the nonpresentable.17 In the sublime-or perhaps more
precisely at a certain extreme point to which the sublime leads us-it is no.
longer a matter of (re)presentation in general.
It is a matter of something else, which takes place, happens, or occurs
in presentation itself and in sum through it but which is not presentation:
this motion through which, incessantly, the unlimited raises and razes it
self, unlimits itself, along the limit that delimits and presents itself. This
motion would trace in a certain way the external border of the limit. But
this external border is precisely not an outline: it is not a second outline ho
mologous to the internal border and stuck to it. In one sense, it is the same
as the (re)presentational outline. In another sense, and simultaneously, it is
an unlimitation, a dissipation of the border on the border itself-an un
bordering or overbordering, or overboarding, an "effusion" (Ergiejfung),
Kant" says. What takes place in this going overboard of the border, what
happens in this effusion? As I have indicated above, I call it the offering,
but we need time to get there. .
In the sublime, then, presentation itself is at stake: neither something

to be presented or represented nor something that is nonptesentable (nor
the nonpresentability of me thing in general), nor even the fact that it [raJ
presents itself to a subject and through a subject (representation), but the
fact that it presents itself and as it presents itself: it presents itself in un
limitation, it presents itself always at the limit.
This limit, in Kantian terms, is that of the imagination. For there is
an absolute limit to the imagination, a m"aximum of Bild and Bildung. We
receive an analogical indication of this maximum in the greatness of certain
objects both natural and artificial, for example, in oceans or pyramids. But
these objective grandeurs, these very great figures, are precisely nothing but
analogical occasions for thinking the sublime. In the sublime, it is not a
matter of great figures but of absolute greatness. Absolute greatness is not
226 PLEASURE '
greater than the greatest greatness: it designates rather that there is, ab
solutely, greatness. It is a matter of magnitudo, Kant says, and not of quan
titas. Quantitas can be measured, whereas magnitudo presides over the pos
sibility of measure in general: it is the fact in itself of greatness, the fact
that, in order for there to be forms of figures which are more or less large,
there must be, on the edge of all form or �gure, greatness as such. Great
ness is not, in this sense, a quantity, but a quality, or more precisely, it is
quantity qua quality. It is. in this way that for Kant the beautiful concerns
quality, the sublime quantity. The beautiful resides in form as such, in the
form of form, if one can put it this way, or in the figure that it makes. The
sublime resides in the tracing-out, the setting-off and seizure of form, in
dependently of the figure this form delimits, and hence in its quantity
taken absolutely, as magnitudo. The beautiful is the proper of such and
such an image, the pleasure of its (re)presentation. The sublime is: that
there is an image, hence a limit, along whose edge unlimitation makes it
self felt.
Thus, the beautiful and the sublime, if they are not identical-and
indeed, quite the contrary-take place on the same site, and in a certain
sense the one upon the other, the one along the edge of the other, and per
haps-I will come back to this-the one through the other. The beautiful
and the sublime are presentation but in such a manner that the beautiful is
the presented in itspresentation, whereas the sublime is the presentation in
its movement:-which is the absolute re-moval of the unlimited along the
edge of any limit. The sublime is not "greater than" the beautiful, it is not
more elevated [eleve1 , but in turn, it is, if ! dare put it this way, more re
moved [enleve] , in the sense that it is itself the unlimited removal of the
beautiful.
What gets removed and carried away is all form as such. In the man
ifestation of a world or in the composition of a work, form carries itself
away or removes itself, that is, at once traces itself and unborders itself, lim
its itself and unlimits itself (which is nothing other than the most strict
logic of the limit). All form as such, all figure is small with regard to the
unlimitedness against which it, sets itself off and which carries it away.
"That is sublime," writes Kant, "in comparison with which all the rest is
small." The sublime is hence not a greatness that would be "less small" and
would still take place along, even if at the summit of, a scale of compari
son: for ill this case, certain parts of the rest would not be "small," but sim
ply less great. The sublime is incomparable, it is of a greatness with relation
to which all the others are "small," that is, are not of the same order what
soever, and are therefore no longer properly comparable.
The sublime magnitudo resides-or rather befalls and surprises-at
the limit, and in the ravishment and removal of the limit. Sublime great
ness is: that there is such a thing as measurable, presentable greatness, such
a thing as limitation, hence such a thing as form and figure. A limit raises
itself or is raised, a contour traces itself, and thus a multiplicity, a dispersed
manifold comes to be presented as a unity. Unity comes to it from its
limit-say, through its internal border, but that there is this unity, ab
solutely, or again that this outline should make up a whole, comes-to put
it still in the same manner-from the external border, from the unlimited
raising and razing of the limit. The sublime concerns the totality (the gen
eral concept ofwhich is the concept of unified multiplicity). The totality of
a form, of a presentation, is neither its completeness nor the exhaustive
summation Of its parts. Rather, this totality is what takes place where the
form has no parts, and consequently (re)presents nothing, but presents it
self The sublime takes place, Kant says, in a "representation of the unlim
ited to which is added nonetheless the thought of its totality" (and this is
why, as he specifies, the sublime can be found in a formless object as well
as in a form). A presentation takes place only if all the rest, all the unlim
itedness from which it detaches itself, sets itself off along its border-and
at once, in its own way, presents itself or rather sets itself off and upsets it
self all along the presentation.
The sublime totality is not at all the totality of the infinite conceived
as something other than finite and beautiful forms (and which by virtue of
this otherness would give way to a second, special aesthetics which would
be that of the sublime), nor is it the totality of an infinite that would be the
summation of all forms (and would make of the aesthetics of the sublime
a "superior" or "total"18 aesthetics). The sublime totality is rather the total
ity of the unlimited, insofar as the unlimited is beyond (or this side of) all
form and all sum, insofar as the unlimited is, in general, on the far side of
the limit, that is, beyond the maximum.
The sublime totality is beyond the maximum, which is to say that it
is beyond everything. Everything is small in the face of the sublime, all form,
all figure is small, bu� also, each form, each fig!lre is or can be the maxi
mum. The maximum (or magnitudo, which is its external border) is there
whenever the imagination has (re)presented the thing to itself, big or smalL
The imagination can do no more: it is defined by the Bildung of the BUd.
228 PLEASURE
However, the imagination can do more-or at least, if it is no longer

at this point properly a "power" (Kraft), it receives more-there where it
can do no more. And it is there that the sublime is decided: the imagina
tion can still feel its limit, its powerlessness, its incommensurability with
relation to the totality of the unlimited. This totality is not an object, it is
nothing (re)presented, neither positively nor negatively, but corresponds to
this: that presentation,takes place. It is not presentation itself-neither the
exhibition of what is presented nor the presence of what presents-but
rather it is that presentation takes place. This ' is the formless form or the
form of the formless, the setting-off of the limit's external border from the
limit itself, the motion of the urilimited.
This totality is not, in fact, e�ccly the unity of the manifold: the un-
, limited offers properly neither a -manifold nor the number of a unity. But
what Kant calls "the Idea of a whole" is the union through which the unity
of a whole is possible in general. The sublime is concerned with union, as
the beautiful is concerned with unity. But union is the work of the imagi
nation (as unity is its product): it unites concept and intuition, sensibility
and understanding, the manifold and the identical. In the sublime, the
imagination no longer has to do with its products but with its operation
and thus with its limit:
For there are two ways of conceiving of union. There is the Hegelian,
dialectical way, which considers union as a process of reunion, as a purpo
siveness or finality of unification, and as its resUlt, which is supposed to be
a unity. Thus, for example, the truth of the union of the sexes for Hegel is
to be found in the unity of the child. The Kantian concept of union is dif
ferent. Thus, in the Anthropology the union of the sexes remains an abyss
for reason, just as the schematizing union remains an "art" that has forever
escaped our grasp. This means that Kant takes into account union as such,
precisely in its difference from unity, precisely insofar as it is not or does
not constitute by itself a unity (neither an object nor a subject). Union is
more than the sum of the parts and less than their unity: like magnitudo, it
escapes all calculation. As "Idea of the whole," union is neither the one nor
the many: it is beyond everything, it is m.e "totality" on the far or near side
of the formal unity of the whole, elsewhere, nonlocalizable, but nonethe
less it takes place. Or more precisely, it is the takingplace of all or the whole
in general (thus, it is the contrary of a totalization or of a completion and
instead a completing or dawning). That this should take place, that it
should present itself, that it should take on form and figure, this "that" is
union, is the totality beyond the whole-in relation to which all presenta-
tion is small and all greatness remains a little maximum where the imagi
nation reaches its limit.
Because it reaches this limit, it exceeds this limit. It overflows itself,
in reaching the overflowing of the unlimited, .where unjty gets carried away
into union. The sublime is the self-overflowing of the imagination. Not
that the imagination imagines beyond its maximum (and still less that it
imagines itself: we have to do here with exactly the reverse of its self-pres
entation). It imagines no longer and there is no longer anything to imag
ine, there is no Bild beyond Einbildung-and no negative BUd either, nor
the Bild of the absence of the Bild. The faculty of presentation (Le., the
imagination) presents nothing beyond the limit, for presentation is delim
itation itself. However, it gains access to something, reaches or touches
upon something (or it is reached or touched by something); union, pre
cisely, the "Idea" of the union of the unlimited, which borders upOJ? and
unborders the limit.
What operates this union? The imagination itselE At the limit, it
gains access to itself as in its speculative self-presentation. But here, the re
verse is the case: that "part" of itself that it touches is 'its limit, or it touches
itself as limit. "The imagination," Kant writes, "attains to its maximum,
and in the effort to go beyond this limit it sinks back into itself, and in so
doing is displaced into a moving satisfaction."19 {The question arises im
mediately, since there is satisfaction or enjoyment here, why is this not a
mere repetition of self-presentation? Nothing is pure here, nothing m�de
up of simple oppositions, everything happens as the reversal of itself, and
the sublime transport is the exact reverse of the dialectical sublation.}
At the limit, there is no longer either figure or figuration or form.
Nor is there the ground as something to which one could proceed or in
which one could exceed oneself, as in the Hegelian infinite, that is, as in a
nonfigurable instance which, infinite in its way, would not cease to cut a
figure. {Such is, in general, it seems to me, the concept with which one
ends up as soon as one names something like "the nonfigurable" or "the
nonpresentable": one (re)presents its nonpresentability, and one has thus
aligned it, however negatively, .with the order of presentable things.) At the
limit, one does not pass on; But it is there that everything comes to pass, it
is there that the totaiity of the unlimited plays itself out, as that which
throws into mutual reliefthe two borders, external and internal, ofallfigures,
adjoining them and separating them, delimiting and unlimiting the limit
thus in a single gesture.
It is at once an infinitely subtle, infinitely complex operation, and the
230 PLEASURE
most simple movement in the world, the strict beating of the line against
itself in the motion ofits outline. Two borders in one, union "itself," noth
ing less is required by all figures, as every painter, writer, and dancer
knows. It is presentation itself, but no longer presentation as the operation
of a (re)presenter producing or exhibiting a (re)presented. It is presentation
itselfat the point where it can no longer be said to be "itself," at the point
where one can no ionger say the presentation, and where it is consequently
no longer a question of saying either that it presents itself or that it is non
presentable. Presentation "itself" is the instantaneous division of and by
the limit, between figure and elimination, the one against the other, the
one upon the other, the one at the other, coupled and uncoupled in a sin
gle movement, in the same incision, the same beating.
What comes to pass here, at the limit-and which never gets defini
tively past the limit-is union, imagination, presentation. It is neither the
production of the homogeneous (which is in principle the ordinary task of
the schema) nor the simple and free accord of self:-recognition in which
beauty consists, for it is this side of or beyond the accord of beauty. But it
is also not the union of heterogeneous elements, which would be already
too romantic and too dialectical for the strict limit in question here. The
union with which one has to do in the sublime does not consist in cou
pling absolute greatness with finite limits: for there is nothing beyond the
limit, nothing either presentable or nonpresentable. It is indeed this affir
mation, "there is nothing beyond the limit," that properly and absolutely
distinguishes the thought of the sublime (and art) from dialectical thought
(and the end of art as its completion). Union does not take place between
an outside and an inside in order to engender the unity of a limit where
unity would present itself (according to this logic, the limit itself becomes
infinite, and the only art is that which traces the Hegelian "circle of cir
cles.") But there is only the limit, united with unlimitation insofar as the
latter sets itself off, sets itself up, and upsets itself incessantly on its border,
and consequently insofar as the limit, unity; divides itself infinitely in its
own presentation. :
For dialectical thought, the contour of a design, the frame of a pic
ture, the trace of writing point beyond themselves to the teleological ab
solute of a (positive or negative) total presentation. For the thought of the
sublime, the contour, the frame, and the trace point to nothing but them
selves-'-and even this is saying too much: they do not point at all, but
present (themselves), and their presentation presents its own interruption;
the contour, frame, or trace. The union from which the presented or fig
ured unity arises presents itself as this interruption, as this suspension of
imagination (or figuration) in which the limit traces and effaces itselE The
whole here-the totality to which every presentation, every work, cannot
but lay claim-is nowhere but in this suspension itselE In truth, the whole,
on the limit, divides itself just as much as it unites itself, and the whole is -
nothing but that: the sublime totality does not respond, despite certain ap
pearances, to the supreme schema of a "total presentation," even in the
sense of a negative presentation or a presentation of the impossibility of
presentation (for that always presupposes a complement, an obje!ct of pres
e�tation, and the entire logic of re-presentation: here there is nothing to
present but merely that it [fa] presents itselE) The sublime totality does
not respond to a schema of the Whole, but rather, if one can put it this
way, to the whole of the sthematism: that is, to the incessant beating with
which the trace of the skema affects itself, the carrying away of the figure
against which the carrying away of unlimitedness does not cease to do bat
tle, this tiny, infinite pulsation, this tiny, infinite, rhythmic burst that pro
duces itself continuously in the trace of the least contour and through
which the limit itself presents itself, and on the limit, the magnituda, the
absolute of greatness in which all greatness (or quantity)-is traced, in
which all imagination both imagines and-on the same limit, in the same
beating-fails to imagine. That which indefinitely trembles at the border
of the sketch, the suspended whiteness of the page or the canvas: the expe
rience of the s.ublime demands no more than this.
In sum, from the beautiful to the sublime one more step is taken in
the "hidden art'� of the schematism: in beauty the schema is the unity of
the presentation; in the sublime, the schema is the pulsation of the unity.
That is, at once its absolute value (magnitudo) and its absolute distensio�,
union that takes place in and as suspension. In beauty, it is a matter of ac
cord; in the sublime, it is a matter of the syncopated rhythm of the trace of
the accord, spasmodic vanishing of the limit all along itself, into unlimit
edness, that is, into nothing. The sublime schematism of the totality is
made up of a syncopation at the heart of the schematism itself: simultane
ous reunion and distension of the limit of presentation-or more exactly,
and more inexorably: reunion and distension, positing-and vanishing afsi
multaneity (and thus of presentation) itself. Instantaneous flight and pres
ence of the instantaneous, grouping arid strewn division of a present. (I
will not insist further on this here, bur it is doubtless in terms of time that
232 PLEASURE
one ought finally to interpret the aestheti� of the sublime. This presup
poses perhaps the thought of a time of the limit, of a time of the fainting
of the figure, which would be the proper time of art?)
That the imag!nation-that is, presentation in the active sense-at
tains the limit, that it faints and vanishes there, \ "sinks back into itself," and
thus comes to present itself, in the foundering of a syncopation or rather as
this syncopation "itself," this exposes the imagination to its destiny. The
"proper destiny of the subject" is definitively the "absolute gre�tness" of the
sublime. What the imagination, in failing, avows to be unimaginable, is its
proper greatness. The imagination is thus destinedfor the . beyond of the
image. This beyond is not a primo�dial (or ultimate) presence (or absence)
which images would represent or of which images would present the fact
that it is not (re)presentable. Rather, the beyond of the image, which is not
"beyond," but on the limit, is in the Bildung of the Bild itself, and thus at
or on the edge of the Bild, the outline of the figure, the tracing, the sepa
rating-uniting incision, the beating of the schema: the syncopation, which
is in truth the other name of the schema, its sublime name, if there be such
things as suplime names.
The imagination (or the subject) is destined for, sent toward, dedi
cated and addressed to this syncopation. That is, presentation is dedi
cated, addressed to the presentation ofpresentation itself: this is the gen
eral destiny of aesthetics, of reason in aesthetics, as I said at the outset.
But in the sublime, it turns out that this destiny implies an unbordering
or a going overboard of the beautiful, for the presentation of presentation
itself, far from being the imagination of the imagination and the schema
of the schema, far from· being the figuration of the self-figuration of the
subject, takes place in and as syncopation, and thus does not take place,
does not have at its disposal the unified space of a figure, but rather is
given in the schematic spacing and throbbing of the trace of figures, and
thus only comes to pass in the syncopated time of the passage of the limit
to the limit.
However, syncopated imagination is still imagination. It is still the

faculty of presentation, and like the beautiful, the sublime is still tied "to
mere presentation." (In this sense, it is not beyond the beautiful: it is
merely the beautiful's unbordering, on the border itself, not going beyond
the border-and this is also why, as I will consider further below, the en
tire affair of the sublime occurs on the edges ofworks of "fine art," on their
borders, frames, or contours: on the border of art, but not beyond art.)
How, then, does the imagination (re)piesent the limit, or rather-for

this is perhaps the same question-how does it present itself at the limit?
The mode of presentation of a limit in general cannot be the image
properly speaking. The image properly speaking presupposes the limit
which p�esents it or within which it presents itsel£ But the singular mode
of the presentation of a limit is that this .limit must be reached, must come
to be touched. This is, in fact, the sense of the word sublimitas: what stays
just· below the limit, what touches the limit (limit being conceived, in
terms of height, as absolute height) . Sublime imagination touches the
limit, and this touch lets it feel "its own powerlessness." If presentation
takes place above all in the realm of the sensible-to present is to render
sensible-sublime imagination is always involved in presentation insofar
as this imagination is sensible. But here sensibility no longer comprises the
perception of a figure but rather the arrival at the limit. More precisely,
sensibility is here to be situated in the imagination's sentiment of itselfwhen
it touches its limit. The imagination feds itself passing to the limit. It feels
itself, and it has the feeling of the sublime in its "effort" (Bestrebun�, im
pulse, or tension, which makes itself felt as such at the moment when the
limit is touched, in the suspension of the impulse, the broken tension, the
fainting or fading of a syncopation.
The sublime is a feeling, and yet, more than a feeling in the banal
sense, it is the emotion of the subject at the limit. The subject of the sub
lime, if there is one, is a subject who is moved. In the thought of the sub
lime, it is a question of the emotion of the subject, of that emotion which
neither the philosophy of subjectivity and beauty nor the aesthetics of fic
tion and desire is capable of thinking through, for they think necessarily
and solely within the horizon of the enjoyment of the subject (and of the
subject as enjoyment). And enjoyment qua satisfaction of an appropriate
presentation cuts emotion short.
Thus it is a question here of this emotion without which, to be sure,
there woUld be no beauty, artwork, or thought-but which the concepts of
beauty, the work, and philosophy, by themselves and in principle, cannot
touch. The problem is not that they are too "cold" (they can be quite lively
and warm) but that they (and their system-beauty/�orklphilosophy) are
constructed according to the logic I have designated above as the logic of
the self-enjoyment of Reason, the logic of the self-presentation of imagi
nation. It is the aesthetic logic of philosophy and the. philosophical logic of
aesthetics. The feeling of the sublime, in its emotion, makes this logic vac
illate, because it substitutes for this logic what forms, again, its exact re-
234 PLEASURE
verse, or rather (which comes down to the same thing) a sort oflogical ex
asperation, a passage to the limit: touching presentation on its limit, or
rather, being touched, attained by it. This emotion does not consist in the
sweetly proprietary pathos of what one can call "aesthetic emotion." To this
extent, it would be better to say that the feeling of the sublime is hardly an
emotion at all but rather the mere motion of presentation-at the limit
and syncopated. This (e) motion is without complacency and without sat
isfaction: it is not a pleasure without being at the same time a pain, which
constitutes the affective characteristic of the Kantian sublime. But its am
bivalence does not make it any less sensible, does not render it less effec
tively or less precisely sensible: it is the sensibility ofthefading ofthe sensible.
. Kant characterizes this sensibility in terms of striving and transport
[elan] . Striving, transport, and tension make themselves felt (and perhaps
this is their general logic or "pathetics") insofar as they are suspended, at
the limit (there is no striving or tension except at the limit), in the instant
and the beating of their suspension.20 It is a matter, Kant writes, of the
"feeling of an arrest of the vital forces" (Hemmung, "inhibition," "im
pinging upon," or "blockage"). Suspended life, breath cut off-the beat
ing heart.
It is here that sublime presentation properly takes place. It takes
place in effort and feeling: "Reason . . . as faculty of the independence of
the absolute totality . . . sustains the effort, admittedly sterile, of the spirit
to harmonize the representation of the senses with Totality. This effort and
the feeling that the Idea is inaccessible to imagination constitute in and of
themselves a presentation of the subjective purposiveness of our spiriJ: in
the use of the imagination concerning its super-sensible destiny."21
"Striving," Bestreben, is not to be understood here in the sense of a
project, an envisioned undertaking that one could evaluate either in terms
of its intention or in · terms of its result. This striving cannot be conceived
in terms of either a logic of desire and potentiality or a logic of the transi
tion to action and the work or a logic of the will and energy (even if all of
that is doubtless also present and is not to be neglected if one wishes to
provide an account of Kant's thought, which is not my intention here).
Rather, striving is to be understood on its own terms, insofar as it obeys in
itself only a logic (as well as a "pathetics" and an ethics) of the limit. Striv
ing or transport is by definition a matter of the limit. It consists in a rela
tion to the limit: a continuous effort is the continuous displacement of a
limit. The effort ceases where the limit cedes its place. Striving and exer-
I The Sublime Offering 235
tion transport the limit into themselves: it becomes their structure. In
I striving as such-and not in its success or failure-it is less a question of

a tendency toward something, of the direction or project of a struggling
I
1
I
subject, than of the tension of the limit itsel£ What tends, and what tends
here toward or in the extreme, is the limit. The schema of the image, of any
image-or the schema of totality, the schematism of total union-is ex
II tended toward and tensed in the extreme: it is the limit at the limit of its
I (ex)tension, the tracing-which is no longer quantifiable or hence trace
able-of magnitudo. Stretched to the limit, the limit (the contour of the
figure) is stretched to the breaking point, as one says, and it in fact does
break, dividing itself in the instant between two borders, the border of the
figure and its unlimited unbordering. Sublime presentation is the feeling of
this striving at the instant of rupture, the imagination still for an instant
sensible to itself although no longer itself; in extreme tension and disten-
. ("overflowmg·" or "abyss") .
S10n .
(Or again, the striving is a striving to reach and touch the limit. The
limit is the striving itself and the touching. Touching is the limit of itself:
the limit of images and words, contact-and with this, paradoxically, the
impossibility of touching inscribed in touching, since touching is the limit.
Thus, touching is striving, because it is not a state of affairs but a limit. It
is not one sensory state among others, it is neither as active nor as passive
as the others. If all of the senses sense themselves sensing, as Aristode
would have it [who, moreover, established already that there can be no true
contact, either in the water or in the air], touching more than the other
senses takes place only in touching itsel£ But more than the others also, it
thus touches its limit, itself as limit: it does not attain itself, for one touches
only in general [at] the limit. Touching does not touch itself, at least not as
seeing sees itself.)
The sublime presentation is a presentation because it gives itself to be
sensed. But this sentiment, this feeling is singular. As a sentiment of the
limit, it is the sentiment of an insensibility, a nonsensible sentiment (ap
atheia, phlegma in significatu bono, Kant says), a syncopation of sentiment.
But it is absolute sentiment as well, not determined as pleasure or as pain
but touching the one through the other, touched by the one in the other.
The alliance of pleasure with pain ought not to be understood in terms of
ease and unease; of comfort and discomfort combined in one subject by a
perverse contradiction. For this singular ambivalence has to do first of all
with the fact that the subject vanished into it. It is also not the case that the
236 PLEASURE
subject gains pleasure by means of pain (as Kant tends to put it); it does
not pay the price of the one in order to have the other: rather, the pain here
is the pleasure, that is, once again, the limit touched, life suspended, the
beating heart.
If feeling properly so called is always subjective, if it is indeed the
core of subjectivity in a primordial "feeling oneself" of which all the great
philosophies of the subject could provide evidence, including the most "in
tellectualist" among them, then the feeling of the sublime sets itself off
or affects itself-precisely as the reversal of both feeling and subjectivity.
The sublime affection, Kant affirms, goes as far as the suspension of affec
tion, the pathos of apathy. This feeling is not a feeling-oneself, and in this
sense, it is not a feeling at all. One could say that it is what remains of feel
ing at the limit, when feeling no longer feels itself, or when there is no
longer anything to feel. Of the beating heart, one can say with equal justi
fication either that it feels only its beating
. or that
. it no longer feels any-
thing at all.
On the border of the syncopation, feeling, for a moment, still feels',
without any longer being able to relate (itself) to its feeling. It loses feel
ing: it feels its loss, but this feeling no longer belongs to it: although this
feeling is quite singularly its own, this feeling is nonetheless also taken
up in the loss of which it is the feeling. This is no longer to feel but to be
exposed.
Or in other words, one would. have to construct a double analytic of
feeling: one analytic of the feeling of appropriation, and another analytic of
the feeling of exposition: one of a feeling through or by oneself and another
of a feeling through or by the other. Can one feel through the other,
through the o'utside, even though feeling seems to depend on the self as its
means and even though precisely this dependence conditions aesthetic
judgment? This is what the feeling of the sublime forces us to think.22 The
subjectivity of feeling and of the judgment of taste are converted here into
the singularity of a feeling and a judgment that remain, to be sure, singu
lar, but where the singular as such is first of all exposed to the unlimited to
tality of an "outside" rather than related to its proper intimacy. Or in other
words, it is the intimacy of the "to feel" and the "to feel oneself" that pro
duces it�elf here, paradoxically, as exposition to what is beyond the self,
passage to the (in}sensible or (un}feeling limit of the self
Can one still say that the totality is presented in this instant? If it
were properly presented, it would be in or to that instance of presentifica-
II
tion (or [re]presentation) which is the subjectivity of feeling. But the un
I
limitedness that affects the exposed feeling of the sublime cannot be pre
sented to it, that is, this unlimitedness cannot become present in and for a
subject. In its syncopation, the imagination presents itself, presents itself as
unlimited, beyond (its) figure, but this means that it is affected by (its)
nonpresentation. When Kant characterizes feeling, in the striving for the
limit, as "a representation," one must consider this concept in the absence
I of the values of presence and the present. One must learn-and this is per
i
haps the secret of the sublime as well as the secret of the schematism-that
I presentation does indeed take place but that it does not present anything.
I!
Pure presentation (presentation of presentation itself) or presentation of
the totality presents nothing at all. One could no doubt say, in a certain vo
cabulary, that it presents nothing or the nothing. In another vocabulary,
i
i one could say that it presents the nonpresentable. Kant himself writes that
I the genius (who represents a parte subjecti the instance of the sublime in
1- art) "expresses and communicates the unnamable." Th� without-name is
!
named, the inexpressible is communicated: all is presented-at the limit.
But in the end, and precisely at this limit itself, where all is achieved and
where all begins, it will be necessary to deny presentation its name.
It will be necessary to say that the totality-or the union of the un
limited and the unlimitedness of union, or, again, presentation itself, its
faculty, act, and subject-is offered to the feeling of the .sublime or is of
fired, in the sublime, to feeling. The offering retains of the "present" im
plied by presentation only the gesture of presenting. The offering offers,
carries, and places before (etymologically, of-fering is not very different
from ob-ject), but it does not install in presence. What is offered remains
at a limit, suspended on the border of a reception, an acceptance-which
cannot in its turn have any form other than that of an offering. To the of
fered totality, the imagination is offered-that is, also "sacrificed" (auf
geopfert), as Kant writes.23 The sacrificed imagination is the imagination of
fered to its limit.
The offering is the sublime presentation: it withdraws or suspends
the values and powers of the present. What takes place is neither a coming
into-presence nor a gift. It is rather the one or the other, or the one and the
other, but as abandoned, given up. The offering is the giving up of the gift
and of the present. Offering is not giving-it is suspending or giving up
the gift in the face of a freedom that can take it or leave it.
What is offered is offered up-addressed, destined, abandoned-to
238 PLEASURE
the possibility of a presentation to come, but it is left to this coming and

does not impose or determine it. "In sublime contemplation," Kant writes,
"the spirit abandons itself, without paying attention to the form of things,
to the imagination and to reason, which only enlarges the imagination."
The abandon is the abandon to total extension, unlimited, and thus at the
limit. What comes to pass at the limit is the offering.
The offering takes ' place between presentation and representation,
between the thing and the subject, elsewhere. This is not a place, you will
say. Indeed, it is the offering-it is being offered to the offering.
The offering does not offer the Whole. It does not offer the present
totality of the unlimited. Nor, despite certain pompous accents audible in
Kant's text (and in every text dedicated to the sublime, in the word sublime
itself), does it offer the sovereign satisfaction of a spirit capable of the infi
nite. For if such a capacity, at the limit, is supposed to be attained, it con
sists in nothing but an offering, or in being-offered. In fact, it is not a mat
ter here of the Whole or the imagination of the Whole. It is a matter ofits
Idea and of the destiny of reason. The Idea of the Whole is not a supreme
image, nor is it a grandiose form-:-nor deformity-beyond all images, any
more than the destiny of reason consists in a triumphant Ideal. The Idea of
the whole means rather (finally, neither "Idea" nor "Whole") the possibil
ity of engaging a totality, the possibility of involving oneself in the union
of a totality, the possibility of beginning, along the edge of the unlimited,
the outline of a figure. If it is a matter of the whole, then as "the funda
mentally open" ofwhich Deleuze speaks with respect to the sublime.24 The
opening is offered to the possibility of gesture which "totalizes" figures, or
traces. This possibility of a beginning is freedom. Freedom is the sublime
idea kat'exocen. This means neither that freedom is the content or the ob
ject of the judgment of the sublime nor that it is freedom that makes itself
felt in the feeling of the sublime. In all likelihood, that would make no
sense whatsoever, for freedom is not a content, if indeed it is any thing at
all. Instead, one must understand this: that the sublime offering is the
act-or the motion or emotion-of freedom. The sublime offering is the
act of freedom in the double sense that freedom is both what offers and
what is offered-just as the word offiring designates now the gesture, now
the present offered. .
In the sublime, the imagination qua free play of presentation ' comes
into contact with its limit-which is freedom. Or, more exactly, freedom
itself is a limit, because its Idea not only cannot be an image but also can-
not--':in spite of Kant's vocabulary-be an Idea (which is always some

thing like a hyperimage, a nonpresentable image). It must be an offering.25
The sublime does not escape to a space beyond the limit. It remains
at the limit and takes place there. This means, further, that it does not
leave aesthetics in order to penetrate ethics. At the limit of the sublime,
there is neither aesthetics nor ethics. There is a thought of the offering
which defies this distinction.
The aesthetics of the beautiful transports itself into the sublime
whenever it does not slide into mere enjoyment. The beautiful by itself is
nothing-the mere self-accord of presentation. The spirit can enjoy this
accord, or it can carry itself to the limit of this accord. The unlimited bor
der of the limit is the offering. The offering offers something. I said above
that it offers freedom. But freedom is also what does the offering here.
Something, . a sensible thing, is offered in the offering of freedom. It is in
this sensible thing, on the edge of this sensible thing that the limit makes
itself felt. This sensible thing is the beautiful, the figure presented by
. schematism without concepts. The condition of the schematism is nothing
other than freedom itseI£ Kant declares this explicitly when he writes: "the
imagination itself is, in accordance with the principles of the schematism
of the faculty of judgment (consequently, to the extent that it is subordi
nate to freedom), the instrument of reason and its Ideas."26 Thus, freedom
offers the schematism, or, again, freedom schematizes and offers itself in
this very gesture, in its "hidden art."
The sublime offering takes place neither in a hidden world with
drawn ftom our own nor in a world of "Ideas" nor in any world of a: "non
presentable" something or other. The sublime offering is the limit of pres
entation, and it takes place on and all along this limit, along the contour of
form. The thing offered can be a thing of nature, and this is ordinarily, ac
cording to Kant, the occasion of the feeling of the sublime. But since this
thing, as a thing of freedom, is not merely offered but also offers itself, of
fers freedom-in the striving of the imagination and in the feeling of this
striving-then this thing will be instead a thing of art (moreover, nature
itself is always grasped here as a work of art, a work of supreme freedom).
Kant places poetry above all the other arts, describing it as follows: "it en- . .
larges the soul by giving freedom to the imagination and by offering27
within the limits of a given concept, among the limitless diversity of forms
which might accord with it, that form which links the presentation of this
concept with a plenitude of thoughts, to which no expression of language
240 PLEASURE
is perfectly adequate, and which in so doing elevates itself aesthetically to

the level of the Ideas."
There is thus in art more than one occasion for experiencing sublim
ity. There is-in poetry at leas�8-an elevation (that is, a sublime motion:
Kant uses the verb erheben here) to the "Ideas," which, even though it is an
elevation, remains aesthetic, that is, sensible. Would one have to conclude
from this that there could be another form or mode of sublime presenta
tion in art, that of moral feeling, which would be distinct from the first
mode? But in truth, it is in art and as art that the sublime offering happens.
There is no opposition between an aesthetics of form and an ethical meta
aesthetics of the formless. The aesthetic always concerns form; the totality
always concerns the formless. The sublime is their mutual offering. It is
neither simply the formation or formalization of the formless nor the in
finitization of form (which are both philosophical procedures). It is how
the limit offers itself to the border of the unlimited, or how the limit makes
itself felt: exactly on the cutting edge of the figure the work of art cuts.
It would not be difficult to demonstrate-and I dispense with doing
so here-the systematic engenderment or derivation of art, in Kant, on the
basis of both the beauriful and the sublime. Only in this way can one un
derstand both the order of Kant's table of contents in the third Critique
and the doctrine of genius, as well as the doctrine of the beautiful as "sym
bol" of the ethically good.
Beginning with Kant, the sublime will constitute the most proper,
decisive moment in the thought of art. The sublime will comprise the
heart of the thought of the arts, the beautiful merely its rule. This means
not only that, as I have said, mere beauty can always slide into the agree
able (and, for example, into the "sublime style") bur perhaps, above all ,
that there is no "pure" sublime purely distinguished from the beautiful.
The sublime is that through which the beautiful touches us and not that
through which it pleases us. It is joy and not enjoyment [la joie, non la
jouissance] : the two words are originally the same word. The same word,
the same limit affected by the beating of joy and enjoyment. To be touched
is sublime because it is to be exposed and to be offered. To experienc� joy
is to be exposed in enjoyment, to be offered there. The sublime is in the
contact of the work, not in its form. This contact is beyond the work, at its
limit, in a sense beyond art: but without art, it would not take place. The
sublime is-that art should be [soi4 exposed and offered.
Since the epoch ofKant-ofDiderot, Kant, and Holderlin-art has
been destined for the sublime: it has been destined to touch us, in touch
ing upon our destiny or destination. It is only in this sense that ' one must
comprehend, . in the end, the end ofart.
What art is 'at stake here? In a sense, one has no choice, neither be
tween particular arts nor between artistic tonalities and registers. Poetry is
exemplary-but which poetry? Quite indirectly, Kant has given us an ex
ample. When he cites "the most sublime passage of the Book of the Law of
the Jews," that which articulates the prohibition of images, the sublime, in
fact, is present twice. It is present first in the content of the divine com
mandment, in the distancing of representation. But a more attentive read
ing shows that the sublime is present also, and perhaps more essentially, in
the "form" of the biblical text. F�r this passage is quoted in the middle of
. what properly constitutes the search for the genre or aesthetics of "sublime
presentation." This presentation must attempt neither to "agitate" nor to
"excite" the imagination but ought always to be concerned with the "dom
ination of reason over sensibility." And this presupposes a "withdrawn or
separated presentation" (abgezogen, abgesondert), which will b� called a bit
further on "pure, merely negative." This presentation is the command
ment, the law that commands the abstention from images.29 The com
mandment, as such, is itself a form, a presentation, a style.
And so sublime poetry would have the style of the commandment?
Rather, the commandment, the categorical imperative, is sublime because
, it commands nothing other than freedom. And if that comprises a style, it
cannot be the muscular style of the commandment. It is what Kant calls
simplicity: "Simplicity (purposiveness without art) is so to speak the sry.le
of nature in the sublime, as of morality which is a second nature."
It is not the commandment that is simple but rather simplicity that
commands. The art of which Kant speaks-or of which, at the limit, he
does not manage to speak, while speaking of the Bible, poetry, and forms
of union in the fine arts-is the art of which the "simplicity" (or the
"withdrawal" or the "separation") commands by itself, that is, addresses or
exposes to freedom, with the simplicity of the offering: the offering as law
of style.
"Purposiveness without art" (without artifice) is the art (the style) of
purposiveness without purpose, that is, of the purposiveness of humanity
in its free destination: humans are not devoted to the servility of represen
tation but destined to the freedom of presentation and to the presentation
of freedom-to their offering, which is a withdrawn or separate presenta-
242 PLEASURE
tion (freedom is offered to them, they offer it, they are offered by it) . This
style is the style of a commandment or proscription because it is the style
of a literature that proscribes for itself to be "literature," that withdraws
from literary prestige-and pleasure (which Kant compares to the massages
of the "voluptuous orientals"): the effort by means of which it withdraws is
itself a sublime offering. In short, the offering of literature itself, or the of
fering of all art-in all possible senses of the expression.
But "style" is doubtless here already one concept too many, like "po
etry," "literature," and perhaps even "art" itself They are certainly inap
propriate and superfluous here if they remain caught up in a logic of lack
and its substitute, presence and its representation (as this logic still governs,
at least in part, the Kantian doctrine of art as a "symbol"). For nothing is
lacking in the offering. Nothing is lacking, everything is" offered: the whole
is offered (opened), the totality of freedom. But to receive the offering, or
to offer oneself to it (to joy), presupposes precisely the freedom of a ges
ture-of reception and offering. This gesture traces a limit. It is not the
contour of a figure of freedo�. But it.is a contour, ail outline, because it
arises in freedom, which is the freedom to begin, to incise, here or there, an
outline, an inscription, not merely arbitrarily, but still in a chancy, daring,
playful, abandoned manner.
Abandoned but nonetheless regulated: the syncopation does not take
place independently of all syntax, but rather imposes one, or better, it is
one itself In_ its pulsation-which assembles-in its suspension-which
establishes and extends a rhythm-, the syncopation offers its syntax, its
sublime grammar, on the edge of the language (or the drawing, or the
- song). Consequently, this trace is still or again art, this inscription still or
again style, poetry: for the gesture of freedom is each time a singular man
ner of abandoning oneself (there is no such thing as general freedom, no
such thing as general sublimity). This is not style "in the accoustico-deco
rative sense of the term" (Borges), but it is also not the pure absence of
style of which the philosopher3° dreams (philosophy as such and without
offering, as opposed to . or rather differentiated from thought): it is style,
and the thought of a "withdrawn, separated presentation." It is not a
style-there is no sublime style, and there is no simple style-but consti
tutes a trace, puts the limit into play, touches without delay all extremi
ties-and it is perhaps this that art obeys.
In the final analysis, there is perhaps no sublime art and no sublime
work, but the sublime takes place wherever works touch. If they touch,
there are sensible pleasure and pain-all pleasure is physical, Kant repeats
with Epicurus. There is enjoyment, and there is joy in enjoyment. The sub�
lime is not what would take its distance from enjoyment. Enjoyment is
mere enjoyment when it does nothing but please: in the beautiful. But
there is the place (or the time) where (or when) enjoyment does not merely
please, is not simply pleasure (if there is ever such a thing as simple pleas
ure): in the sublime, enjoyment touches, moves, that is, also commands. It
is not commanded (an obligation to enjoy is absurd, Kant writes, and La
can remembered this), but commands one to. pass beyond it, beyond
pathos, into ethos, if you like, but without ceasing to enjoy: touching or
emotion qua law-and the law is necessarily a-pathetic. Here, "sovereign
art," as Bataille writes, "accedes to the extremity of the possible." This art
is indissociably "art expressive of anguish" and "that expressive of joy." The
one and the othedn an enjoyment, in a dispropriated enjoyment-that is,
in tragic joy, or in this animated joy of the "vivacity of the affects" ofwhich
Kant speaks (§54) and which extends to the point oflaughter and gaiety
they too being syncopated, at the limit of (re)presentation, at the limit of
the "body" and the ('spirit," at the limit of art itself .
. . . at the limit of art: which does not mean· "beyond" art. There is
nonetheless a beyond, as art is always an art of the limit. But at the limit of
art there is the gesture of the offering: the gesture that offers art and the
gesture through which art itself reaches, touches upon, and interferes with
its limit.
As offering, it may be that the sublime surpasses the sublime-passes
it by or withdraws from it. To the extent that the sublime still combines
pathos and �thos, art and nature, it continues to designate these conc�pts,
and this is why, as such, it belongs still to a space and problematic of
(re)presentation. It is for this reason that the word "sublime" always risks
burdening art either with pathos or morality (too much presentation or too
much representation). But the offering no longer even arises out of an al
liance of pathos and ethos. It comes to pass elsewhere: offering occurs in a
simplicity anterior to the distinction between pathos and ethos. Kant
speaks of "the simplicity which does not yet know how to dissimulate"; he
calls it "naIvete," and the laughter or rather the smile in the face of this
naIvete (which one must not confuse, he insists, with the rustic simplicity
of the one who doesn't know how to live) possesses something of the sub-
244 PLEASURE
lime. However, "to represent naivete in a poetic character is certainly a pos:'

sible and beautiful art, but a rare one."
Would he characterize this extremely rare art as being henceforth a
te/os of art? There is in the offering something of the "naive" in Kant's
sense. There is sometimes, in today's art, something of the offering under
stood in this way. Let us say: something of a childhood (doubtless nothing
new about this but a more strongly marked accent). This childlike art no
longer inhabits the heights or the depths as did the sublime but simply
touches the limit, without any disarticulating excess, without "sublime" ex
altation, but also without puerility or silliness. It is a powerful but delicate
vibration, difficult, continuous, acute, offered upon the surfaces of can
vasses, screens, music, dance, and writing. Mondrian spoke, apropos ofjazz
and "neo-plasticism," of "the joy and the seriousness which are simultane
ously lacking in the bloodless culture of form." In what offers art today to
its future, there is a certain kind of serenity (Mondrian's word). It is neither
reconciliation nor immobility nor peaceful beauty, but it is not sublime
(self-)laceration either, assuming the sublime is supposed to involve (self)
laceration. The offering renounces (self-)laceration, excessive tension, and
sublime spasms and syncopations. But it does not renounce infinite ten
sion and distance, striving and respect, and the always renewed suspension
that gives art its rhythm like a sacred inauguration and interruption. It
simply lets them be offered to us.
My painting, I know what it is beneath its
appearances, its violence, its perpetual play of
force; it is a fragile thing in the sense of the
good, the sublime, it is fragile like love.
-Nicolas de Stael
Translated by Jeffrey Libbrett
12
Shattered Love
Thinking: of Love
I love you more than all that has been thought and can be thought. I give my
soul to you.
-Henriette Vogel to Heinrich von Kleist
The thinking oflove, so ancient, so abundant and diverse in its forms

and in its modulations, asks for an extreme reticence as soon as it is so
licited. It is a question of modesty, perhaps, but it is also a question of ex
haustion: Has not everything been said on the subject oflove? Every excess
and every exactitude? Has not the impossibility of speaking about love
been as violently recognized as has been the experience oflove itself as the
true source of the possibility of speaking in general? We know the words of
love to be inexhaustible, but as to speaking about love, could we perhaps be
exhausted?
It might well be appropriate that a discourse on love-supposing
that it still has something to say-be at the same time a communication of
love, a letter, a missive, since love sends itself as much as it enunciates it
self But the words oflove, as is well known, sparsely, miserably repeat their
one declaration, which is always the same, always already suspected oflack
ing love because it declares it. Or else this declaration always carries the
promise of revealing itself as the unique incarnation, the unique and cer
tain, if derisory manifestation of the love that it declares. The discourse
246 PLEASURE
might well have nothing more to say or to describe than this communal
indigence, these dispersed and tarnished flashes of an all-too-familiar love.
This is why, at our slightest attempt to solicit the thinking oflove, we
are invited to an extreme reticence. (Should this thinking be solicited? I
will not discuss this. As it happens, it is. As it happens, indeed, this soHci
tation regularly returns, throughout our history, to formulate its demands.
One asks what has become of love, but one does not forget to return to it
after a certain period. When, for example, as is the case today, love is no
longer the dominant theme of poetry, when it seems to be essentially rele
gated to dime-store novels instead, it is then that we inquire and question
ourselves about love, about the possibility of thinking love. As though this
possjbility were always, recurringly indispensable to the possibility of
thinking in general-that is to say, to the possibility of the lif� of a com
munity, of a time and a space of humanity-something that would not be
the case for other objects, such as God, for exaniple, or history, or litera
ture, or even philosophy.)
This reticence of thinking that beckons to us does not imply that it
would be indiscreet to deflower love. Love deflowers and is itself deflow
ered by its very essence, and its unrestrained and brazen exploitation in all
the genres of speech or of art is perhaps an integral part of this essence-a
part at once secret and boisterous, miserable and sumptuous. But this ret
icence might signifY that all, of love, is possible and necessary, that all the
loves possible are in fact the possibilities of love, its voices or its character�
istics, which are impossible to confuse and yet ineluctably entangled: char
ity and pleasure, emotion and pornography, the neighbor and the infant,
the love oflovers and the love of God, fraternal love and the love of art, the .
kiss, passion, friendship . . . . To think love would thus demand a bound
less generosity toward all these possibilities, and it is this generosity that
would command reticence: the generosity not to choose between loves, not
to privilege, not to hierarchize, not to exclude. Because love is not their
substance or their common concept, is not something one can extricate
and contemplate at a distance. Love in its singularity, when it IS grasped
absolutely, is itself perhaps nothing but the indefinite abundance of all pos
sible loves, and an abandonment to their dissemination, indeed to the dis
order of these explosions. The thinking of love should learn to yield to this
abandon: to receive the prodigality, the collisions, and the contradictions
of love, without submitting them to an order that they essentially defy.
But this generous reticence would be no different from the exercise of
Shattered Love 247
thought itself Thinking rejects abstraction and conceptualization as these

are recognized by understanding. Thinking does not produce the operators
of a knowledge; it undergoes an experience, and lets the experien-ce inscribe
itself Thought therefore essentially takes place in the reticence that lets the
singular moments of this experience offer and arrange themselves. The
thinking oflove-if it is necessary to solicit it, or ifit is necessary that it be
proposed anew, as a theme to be discussed or as a question to be posed
does not therefore lay claim to a particular register of thinking: it i�vites us
to thinking as such. Love does not call for a certain kind of thinking, or for
a thinking oflove, but for thinking in essence and in its totality. And this is
because thinking, most properly speaking, is love. It is the love for that
which reaches experience; that is to say, for that aspect of being that gives
itself to be welcomed. In the movement across discourse, proof, and con
cept, nothing but this love is at stake for thought. Without this love, the ex
ercise of the intellect or of reason would be utterly worthless.
This intimate connivance between love and thinking is present in
our origins: the word "philosophy" betrays it. Whatever its legendary in
ventor might have meant by it, "philosophy," in spite of everything-and
perhaps in spite of all philosophies-means this: love of thinking, since
thinking is love. (Love of love, love of the self, in consequence? Perhaps,
bur we will have to return to this.)
We cannot, however, dispense with asking what we must understand
by this. To say that "thinking is love" does not mean that love can be un
derstood as a response to the question of thinking-and certainly not in
the manner of a sentimental response, in the direction of a unifying, effu
sive, or orgiastic doctrine of thinking. Even though the paradox might ap
pear simple, it is necessary to say that "thinking is love" is a difficult, severe
thought that promises rigor rather than effusion. Faced with this thought
about thinking, we can do nothing but begin the quest for an ignored
essence of thinking for which we lack any evident access. It might well be
that nothing that has been designated, celebrated; or meditated under the
name of "love" is appropriate for this determination: "Thinking is love." It
might also be that everything is appropriate, that all loves are at stake in
thinking and as thinking.
In fact, to say "thinking is love" (la pensee est amour) is different from
saying "thinking is Love," (la pensee est l'amour)1 or "Thinking is a certain
species of love." Neither genre nor species, perhaps not any genre or per
haps all species. However this may be, "love" thus employed would be, so
248 PLEASURE
to speak, ·existential rather than categorial, or again it would name the act
of thinking as much as or more than it would its nature. (The model for
this phrase is obviously the ancient "God is love," which entailed the same
formal implications.) We know nothing more about what this means. We
only know, by a sort of obscure certainty or premonition, that it is neces
sary or that it will one day be necessary to attest this phrase: Thinking is
love. · But philosophy has never explicitly attested this.
One single time, however, the first philosopher expressly authenti
cated an identity of love and of philosophy. Plato's Symposium does not
represent a particular treatise that this author set aside for love at the heart
of his wor�, as others would do later (and often by relating to this same
Plato: Ficino, among others, or Leon·the Hebrew, as though Plato were the
unique or at least necessary philosophical reference, de amore, always pres
ent, beyond the epoch of treatises, in Hegel or in Nietzsche-"philosophy
in the manner of Plato is an erotic duel"-in Freud or in Lacan). But the
Symposium signifies first that for Plato the exposition of philosophy, as
such, is not possible without the presentation of philosophic love. The
commentary on the text gives innumerable confirmations of this, from the
portrait of Eros to the role of Socrates and to the figure-who appeared
here once and for all on the philosophical scene-of Diotima.
Although the Symposium speaks of love, it also does more than that;
it opens thought to love as to its own essence. This is why this dialogue is
more than any other the dialogue of Plato's generosity: here he invites ora
tors or thinkers and offers them a speech tempered altogether differently
from the speech of the interlocutors of Socrates. The scene itself, the gaiety
or the joy that traverses it, attests to a consideration that is unique in Plato
(to such a degree, at least)-consideration for others, as well as for the ob
ject of discourse. All the different kinds of loves are welcomed in the Sym
posium; there is discussion, but there is no exclusion. And the love that is
finally exhibited as true love, philosophical Eros, does not only present it
self with the mastery of a triumphant doctrine; it also appears in a state of
deprivation and weakness, which allows the experience of the limit, where
thought takes place, to be recognized. In the Symposium, Plato broaches
the limits, and all his thinking displays a reticence or reserve not always
present elsewhere: it broaches its own limit, that is to say, its source; it ef
faces itself before the love (or in the love?) that it recognizes as its truth.
Thus it thinks its own birth and its own effacement, but it thinks in such
a way that it restores to love, to the limit, its very task and destination. Phi-
Shattered Love 249
losophy is not occupied with gathering and interpreting the experiences of

love here. Instead, in the final analysis, it is love that receives "and deploys
the experience of thinking.
But this has only taken place once, at the inauguration of philosophy,
and even that time it did not really take place, since it did not reach its
ends. For all its generosity, the Symposium also exercises a mastery over
love. At any rate, we cannot fail to read or to deduce here, in the order and
the choices of philosophical knowledge, a truth regarding love, one that as
signs its experience and hierarchizes its moments by substituting the im
patience and conatus of desire for its joyous abandon. Thus in Plato, think
ing will have said and will have failed to say that it is love-or to explain
what this means.
There is not one philosophy that has escaped this double constraint.
In each, love occupies a place that is at once evident and dissimulated (as,
in Descartes, between the theory of union arid that of admiration), or em
barrassed and decisive (as, in Kant, in the theory of sublime reason), or es
sential and subordinate (as, in Hegel, in the theory of the State). At the
cost of these contradictions and evasions, love consistently finds the place
that it cannot not have, but it only finds it at this cost. What we would
have to understand is why this place is essential for it, and why it is essen
tial to pay this price.
II
Philosophy never arrives at this thinking-that "thinking is love"

even though it is inscribed at the head of its program, or as the general epi
graph · to all its treatises. One might say: it reaches toward it; it does not
reach it. But this does "not mean thadt does not have any thinking oflove.
Quite the contrary. Since the Symposium-or, if you prefer, since before
Plato, in Heraclitus or Empedocles, in Pythagoras or Parmenides-the
general schema of a philosophy of love is at work, and it has not ceased to
operate even now, determining philosophy as it understands and construes
itself, as well as love as we understand it and as we make it.
If it were necessary to take the risk of grasping this schema in a for
mula, one might try this: love is the extreme movement, beyond the self,
. of a being reaching completion. The first meaning of this formula (and it
deliberately has several meanings) would be that philosophy always thinks
love as an accomplishment, arriving at a final and definitive completion.
250 PLEASURE
The second meaning would be that philosophy thinks love as an access

rather than an end: the end is the completion of being (even though this
might also be conceived as "love," which would thus designate its own re
sult). The third meaning would be that philosophy thinks the being in
love2 as incomplete and led by love toward a completion. The fourth
meaning, that this completion surpasses what it completes, and conse
quently fulfills it only by depriving it of itself-which comes down to sup
pressing its tension: thus, love suppresses itself (inasmuch as it reaches its
end). The fifth meaning would be that philosophy thinks the suppression
of self in love, and the correlative suppression of the self of love, as its ulti
mate truth and as its ultimate effectivity: thus, love infinitely restitutes it
self beyond itself (in the final analysis: death and transfiguration-:-and this
is not by chance the title of a musical work, since music accomplishes the
philosophical erotic). The sixth meaning would be that this "beyond the
self' in which, i� a very general manner, love has taken place is necessarily
the place of the other, or of an alterity without which neither love nor com
pletion would be possible. But the seventh meaning would nevertheless be
that this "beyond" is the place of the same, where love fulfills itself, the
place of the same in the other, iflove consists, in Hegel's terms, of "having
in an other the moment of one's subsistence."
According to this schema, the nature of love is shown to be double
and contradictory, even though it also contains the infinite.resolution of its
own contradiction. This nature is thus neither simple nor contradictory: it
is the contradiction of contradiction and of noncontradiction. It .operates
in an identical manner between all the terms in play: the access and the
end, the incomplete being and the completed being, the self and the be
yond of the self, the one and the other, the identical and the different. The
contradiction of the contradiction and of the noncontradiction organizes
love infinitely and in each of its meanings. It is this that definitively con
fers on love the universality and the totality to which, according to philos
ophy, it is destined by right-and that have crystallized in the figure of
Christian love, where the love of God and the love of men form the poles
of a new contradiction and of its resolution, since each of them is carried
out by the other and in the other.
Of course, this kind of philosophical thinking is not confined only to
philosophical discourse or to its theological avatar. It is easy to see that it
structures all occidental experience and expression oflove (it is not certain
that the "Occident," here, might not include both Islam and Buddhism):
Shattered Love 251
its poetics, its drama, its pathos, its mystique, from the Grand Rhetoricians
to Baudelaire, from the troubadours to Wagner or Strauss, from Saint John
of the Cross to Strindberg, and moving through Racine or Kleist, Mari
vaux or Maturin, Monteverdi or Freud. For all of them, love is double,
conflictual, or ambivalent: necessary and impossible, sweet and bitter, free
and chained, spiritual and sensual, enlivening and mortal, lucid and blind,
altruistic and egoistic. For all, these' oppositional couples constitute the
very structure and life of love, while at the same time, love carries out the
resolution of these very oppositions, or surpasses them. Or more often, it
simultaneously surpasses them and maintains them: in the realization of
love, the subject of love is dead and alive, free and imprisoned, restored to
the self and outside of the self One sentence by Rene Char best epitomizes
this thinking and its entire tradition: "The poem is the fulfilled love of de
sire remaining desire."3 This sentence, in effect, does not only speak the
truth of the poem, according to Char; it speaks the truth oflove. More pre
cisely, it intends to speak the truth of the poem by grace of the truth of
love, thus confirming, moreover, that love holds the highest truth for us:
the contradiction {desire} opposed to the noncontradiction {love} and rec
onciled with it {"remaining desire"}.
But this thinking that so profoundly and so continually inriervates so
much of our thought received its name and its concept in philosophy: it is
the thinking of the dialectic. One might say that love is the living hypoth
esis of a , dialectic, which formulates the law of its process by way of a re
turn. This law is not only the formal 'rule of the resolution of a contradic
tion that remains a contradiction: it gives, under this rule, the law and the
logic of being in general. By being thought according to the dialectic and
as the essence of the dialectic, love- is assigned to the heart of the very
movement of being. And it is not surprising that these two ideas have co
existed or have even intermixed: that "God is love" and that,God is the
Supreme Being. Love is not only subject to the ontological dialectic, it does
not only form one case of its ontic application. If one may say so-and one
may, rightly, in the most accurate or proper manner-love is the heart of
this dialectic. The idea of love is in the dialectic, and the idea of the di
alectic is in love. Hegel transcribing Christian theology into the ontology
of the statement "The Absolute wishes to be close to us" says nothing
other: The Absolute loves us-and the Absolute dialectizes itself. Love is
at the heart of being.
Again it is necessary that being have a heart, or still more rigorously,
252 PLEASURE
that being be a heart. "The heart of being" means nothing but the being of
being, that by virtue of which it is being. To suppose that "the being of be
ing," or "the essence of being," is an expression endowed with meaning, it
would be necessary to suppose that the essence of being is something like
a heart-that is to say: that which alone is capable oflove. Now this is pre
cisely what has never been attested by philosophy.
Perhaps being, in its essence, is affected by the dialectic that annihi
lates its simple position in order to reveal this contradiction in the becom
ing of reality (or of reason, of the Idea, of history)-and in this sense one
might say that being beats, that it essentially is in the beating, indeed, in
the e-motion of its own heart: being-nothingness-becoming, as an infinite
pulsation. And yet, this heart of being is not a heart, and it does not beat
from the throbbing oflove. Philosophy never says this, and above all, never
explains its implications, as close as it might come to thinking it. It is not
that love is excluded from fundamental ontology; on the contrary, every
thing summons it thither, as we have just shown. Thus, one must rather
say that love is missing from the very place where it is prescribed. Or bet
ter still, love is missing from the very place where this dialectical law oper
ates-the law that we have had to recognize as the law oflove. And there
is nothing dialectical about this loss or this "lack": it is not a contradiction,
it is not made to be sublated or resorbed. Love remains absent from the
heart of being.
That love is missing from philosophical ontology does not mean that
the'dialectical law of being is inappropriate forlove. In one sense, nothing
is false in what we have just demonstrated regarding this law and the na
ture of love. Nothing is false, but love is missing, because the heart of be
ing, which has shown itself to be commanded by the dialectic, is not a
heart. That which has the power of the dialectic is not a heart, but a sub
ject. Perhaps one could find a heart in the subject. But this heart (if there
is one) designates the place where the dialectical power is suspended (or
perhaps shattered). The heart does not sublate contradictions, since in a
general sense, it does not live under the regime of contradiction-contrary
to what poetry (or perhaps only its philosophical reading?) might allow us
to believe. The heart lives-that is to say, it beats-under the regime of
exposition.
If the dialectic is the process of that which must appropriate its own
becoming in order to be, exposition, on the other hand, is the condition of
that whose essence or destination consists in being presented: given over,
Shattered Love 253
offered to the outside, to others, and even to the sel£ The two regimes do
not exclude one another (they do not form a contradiction), but they are
not ' of the same order. The being that has become through a dialectical
process is perhaps destined to be exposed (one could show that this is what
happens, despite everything, at the end of The Phenomenology ofSpirit)
but the dialectic knows nothing of this, it believes it has absorbed the en
tire destination in the becoming-proper. The exposed being is perhaps also
" the subject of a dialectical process, but what is exposed, what makes it ex
'f
posed, is that' it is not completed by this process, and it "incompletes it
self" to the outside; it is presented, offered to something that is not it nor
its proper becoming. ,
The heart exposes, and it is exposed. It loves, it is loved, it does not
love, it is not loved. Affirmation and negation are present here as in the di
alectic. But in its modes of" affirmation and negation, the heart does not
operate by reporting its own judgment to itself (if it is a judgment). It does
not say "] love," which is the reflection or the speculation of an ego (and
which engages love neither more nor less than the cogito), but it says "I love
you," a declaration where "I" is posed only by being exposed to "you."
That is to say that the heart is not a subject, even if it is the heart of a sub
ject. The subject is one who reports to himself, as his own, his judgments
and their contradiction, in order to constitute therefrom his proper being:
for example, that he is (Descartes), that he is , not his immediate being
(Spinoza), that he becomes what he is by traversing the other (Hegel). This
resembles love; in any case it calls to and even demands love-and yet this
i� not love. The subject poses its own contradiction in order to report it to
itself and to "maintain it in itself," as Hegel says. Thus it surmounts it or
infinitely sublates it. By principle, the moment of exposition is evaded,
even though it dimly emerges. This is the moment when it is not a matter
of posing or of opposing and then of resorbing the same and the other. It
is when the affirmation "I love you" is given over to that which is neither
contradictory nor noncontradictory with it: the risk that the other does not
love me, or the risk that I do not keep the promise of my love.
The being of philosophy is the subject. The heart of the subject is
again a subject: it is the infinite rapport to the sel£ That this rapport de
mands, in turn, an infinite migration through the other, even the gift of the
self, does not in any way hinder the structure of the subject from thence
deriving all its consistency. Philosophy will not fail to retort: what is at
stake is nothing but a dialectic of the heart and the subject, oflove and the
254 PLEASURE
conscience or the reason. From Pascal to Hegel and beyond, this dialectic
is well attested. But the response of philosophy is not admissible. There is
no dialectic of the heart and the reason, not because they would be irrec
oncilable (the questiofl of their rapport, ifit be a question, cannot be posed
in these terms; the perhaps pseudo-Pascal of the Discourse on the Passions of
Lovewrites, "They have inappropriately removed the name of reason from
love, and they have opposed them without a sound foundation, since love
and reason is but the same thing"), but because the heart is not able to en
ter into a dialectic: it cannot be posed, disposed, and sublated in a superior
moment. The heart does not return to itself beyond itself, and this is not,
as Hegel would have wished, "the spirit which is attendant to the power of
the heart." Or again, there is no sublimation of the heart; nor oflove. Love
is what it is, identical and plural, in all its registers or in all its explosions,
and it does not sublimate itself, even when it is "sublime." It is always the
beating of an exposed heart.
This argument carries a corollary: because it is a stranger to the di
alectic, the heart does not maintain itself in opposition to the subject, any
more than love does to reason. But they are one in the other, and one to
the other, in a manner that is neither a mode of contradiction nor of iden
tity nor of propriety. This mode might declare itself thus: The heart ex
poses the subject. It does not deny it, it does not surpass it, it is not sub
lated or sublimated in it; the heart exposes the subject to everything that is
not its dialectic and its mastery as a subject. Thus, the heart can beat at the
heart of the subject, it can even beat in a movement similar to that of the
dialectic, but it does not confuse itself with that.
This is why love is always missed by philosophy, which nevertheless
does not cease to designate and assign it. Perhaps it cannot help but be
missed: one would not know how to seize or catch up with that which ex
poses. If thinking is love, that would mean (insofar as thinking is confused
with philosophy) that thinking misses its own essence-that it misses by
essence its own essence. In philosophy (and in mysticism, in poetics, etc.)
thinking would thus have said all that it could and all that it should have
said about love-by missing it and by missing itself Loving, and loving
love, it will have lost love. It is thence that Saint Augustine's amare amabam
draws its exemplary force of confession.
This does not at all mean that in all this tradition thinking has never
occurred, or that love has never occurred, or that thinking about love has
never occurred. On the contrary. But this does mean that love itself, in that
Shattered Love 255
it is missed by thinking, and by the love of thinking, gives itself again to

thinking. This is to say that in thinking, it calls forth once again this love
that it is. Something revealed and re-veiled with the Symposium, like a
missed rendezvous, calls again for its repetition.
The Heart: Broken
Love is a series of scars. "No heart is as whole as a broken heart," said the cele
brated Rabbi Nahman ofBratzlav.
-Elie Wiesel, The Fifth Son
One would want to be able to engage this repetition, at least in part,

outside of the Occident, that is to say, apart from love as we have come 'to
know it from our history and from our thinking. That which is not the
Occident is, in fact, no stranger to any of the figures or forms we know as
love (sexuality, erotism, tenderness, passion, friendship, fraternity, or even
fidelity, abandon, union, desire, jealousy, or what we represent as the emo
tion of love, as the adoration or supplication of love, or the gift of the self,
or deliverance by love, etc.). But in all these figures (which their occiden
tal denominations here risk falsifying, and which, moreover, are perhaps
not figures, but rather so many distinct essences-or so many flashes)
what is at issue, outside of the Occident, is not love absolutely. Only the
Occident designates within love-absolutely and in every sense, or in the
absolute of all its conjoined meanings, which obstinately make up one sole
meaning, one sole essence-an ordering (or disordering) principle of the
totality of being and of beings, of nature, of the city, of knowledge, and of
God. Only the Occident raises with this one name, "love," such a claim to
universality. That this claim is continually disappointed or ridiculed, that
it is continually found guilty of delirium, of contradiction or of bad faith,
only confirms its imperious, demanding, insistent, or insidious character.
When we name love, we name something-and without a doubt, the only
thing of this kind-that diffuses itself through all things, that comes closer
and closer to totality, because this thing is the principle or the movement
of proximity and of the neighbor, because it is the evidence and the cer
tainty of recognition, and at the same time the power of fulfillment. Di
verse as the realities are that are designated by amor foti, by the love of
256 PLEASURE
God, by the love ofTristan, by love in the afternoon, love on the ground,
love in flight, or by the sacred love of the fatherland, the meaning remains
the same, unchangeable and infinite: it is always the furthest movement of
a completion. .
If we take love within the Occident, and the Occident in turn within
love, how then can we hope to repeat the rendezvous that seems to have
been missed once and for all, since it is the very nature of this love
unique and universal, plenary, fulfilling-that caused the rendezvous to be
missed?
If such an undertaking will always be in vain, it is nonetheless certain
that love is not to be found elsewhere. Elsewhere (if such an "elsewhere" ex
ists, but this is not the question here), one will find, by definition, only
pleasure or desire, vows, sacrifice, or ecstasy, but "love" will not be found.
We will not be able to redirect love to the edges of the Occident, if such
edges exist, in order to abandon it to voluptuous rituals, innocent games,
or heroic communions, as certain ethnological or archaeological fictions
would like to do. For there we would instantly lose what makes "love," its
unique nomination, and the intimate communication it establishes be
tween caress and devotion, between charity and nuptials (we would, in
fact, lose the very meaning of these words, of all love's words). Nothing
leads us more surely back to ourselves (to the Occident, to philosophy, to
the dialectic, to literature) than love.
That is why one would want to separate oneself from love, free one
self from it. Instead of this law of the completion of being, one would want
to deal only with a moment of contact between beings, a light, cutting,
and delicious moment of contact, at once eternal and fleeting. In its philo
sophical assignation, love seems to skirt this touch of the heart that would
not complete anything, that would go nowhere, graceful and casual, the
joy of the soul and the pleasure of the skin, simple luminous flashes oflove
freed from itself That is Don Juan's wish, it is his fervor, it is even his suc
cess: but we can think Don Juan only condemned, unless we represent his
impunity as a diabolical or perverse challenge to the very law oflove. Thus
there is no innocent or joyous Don Juan. Mozart's, it is true, continues up
until the end merrily thwarting the condemnation. And, yet, perhaps in
spite of himself, Mozart let him be condemned. But even in hell, the fig
ure of Don Juan testifies with remarkable force and insistence that this
style of love as heart's touch obstinately haunts the thinking of love as law
of fulfilIment.
Shattered Love 257
(Actually, when we represent modes of existence and thinking for

eign to the law of love, we supplement this law, in our representations, by
something else: it is a sacred order, a social tie, or a natural attraction that
plays, in the final analysis, the role of love and that gives tenderness, ero
tism, and fraternity their independence. This means that we think love in
the guise of a substitute or a transfiguration of these things that our imag
inary figures as realities that we would have possessed, then lost: religion,
community, the immediate emotion of the other and of the divine. But
this substitute is not satisfied with coming to the place of what would have
been lost-or, in the most Christian version, it is not satisfied with trans
figuring it. Love conceals a fundamental ambivalence in which it at the
same time challenges that which it must replace: we represent love as hos
tile or as foreign to the city and to religion-so that while affirming that
they are founded within love or virtually fulfilled in it, they multiply with
respect to love the procedures of control or of conciliation. But for itself, in
its living essence, love is reputed to be rebellious, fugitive, errant, unas
signable, and inassimilable. Thus love is at once the promise of comple
tion-but a promise always disappearing-and the threat of decomposi
tion, always imminent. An entire modern eroticism and an entire modern
spirituality, those of romantic love, of savage love, of transgressive love, .are
determined according to this dialectic.)
Love is thus not here, and it is not elsewhere. One can neither attain
it nor free oneself from it, and this is at bottom exactly what it is: the ex
cess or the lack ofthis completion, which is represented as the truth of
love. In other words, and as it has been extensively said, extensively repre
sented, and extensively theorized for some two centuries: the impossible.
11
We will thus have to engage the repetition differently. We will have

to stop thinking in terms of possibility and impossibility. We will have to
maintain that love is always present and never recognized in anything that
we name "love." We will have to admit that the rendezvous, our ren
dezvous with love, takes place not once, but an indefinite number of times
and that it is never "love" that is at the rendezvous, or 'unique and univer
sal love (Catholic love), or nomadic and multiple loves, but another pres
ence or another movement of love. Or rather, another love presence or an
other love movement that we in fact touch or that touches us, but that is
258 PLEASURE
not the "love" we were expecting. (Classical figure of romantic comedy or

drama: it is another who is at the rendezvous, but it is love itself that is re
vealed thereby-and betrayed. COSlfan tutte.) Another love presence or an-'
other love movement.: that is what the repetition should let emerge. This
would not at all imply the invention of another "love" or of a beyond love.
It would imply letting love once again open up its paths within thought,
letting it once again call thought toward it, thought exposed to missing
love as well as to being touched by it, exposed to being betrayed, as well as
to taking account of its miserable means of loving.
We will set out again from the given that is perhaps the simplest and
that is offered right in the middle of the tradition. In this tradition, love is
defined above all as that which is not self-love. Any other determination
ontological, erotic, political-is excluded from the start and could only be
recaptured, if that is necessary, starting from there.
(It was within the spirituality of the mystic tradition that this formu
lation of love came to be privileged. As an example, some lines from
Fenelon:
The ownership condemned with such rigor by the mystics, and often called im
purity, is only the search for one's own solace and one's own interest in the jouis
sance of the gifts of God, at the expense of the jealousy of the pure love that wants
everything for God and nothing for the creature. The angel's sin was a sin of own
ership; stetit in se, as Saint Augustine says. Ownership, of course, is nothing but
self-love or pride, which is the love of one's own excellence insofar as it is one's
own, and which, instead of coming back completely and uniquely to God, still to
a small extent brings the gifts of God back to the self so that it can take pleasure
in them.
What is expressed in these terms and under the rubric of a relation

to "God" belongs in one way or another to all modes and all forms of the
thinking of love that we have been able to know. In one sense, this does
not say anything other than what the philosophical schema of love al
ready contains, and, nonetheless, it displaces its entire economy of a ful
fillment proper. It is simply a matter ofletting oneself be carried by a tiny
movement, barely perceptible, which would not reconstitute the dialecti
cal logic, but which would touch the heart of the schema, the heart of
love itsel£)
Love defines itself as the absolute opposite and as the destruction of
self-love. Self-l.ove is not simply the love of the self; it is, as we have just
read, "the love of one's own excellence insofar as it is ones own." One can
Shattered Love 259
love oneself with a real love, and it might even be that one must do so
(however, it is not certain that these words, "the self," "oneself," can let us
discover, with{JUt being themselves put into play, precisely who is at issue
in this love of "self": that is a question that we will have to take up again
later). But self-love, und�rstood according to the signification the spiritual
authors gave to it, and not as a term in psychology almost synonymous I
with sensitivity, is the love (which, from this moment on, is no longer one)
of possession. It is the love of the self as property.
Property is an ontological determination. It does not designate the
object possessed, but the subject in the object. "Matter, for itself, is not
proper to itself" (Hegel), it can therefore become my possession. But in
this possession, it is I myself, as subject, who find mys�lf realized, it is my
subjectivity ( me as will, need, desire, consciousness-of me) , and in this
respect possession properly becomes property� Which is to say that prop
erty is the objectivized presence of subjectivity, its realization in the outside
world, and thus "the first existence of freedom" (Hegel). Property is the at
testat�on and the assurance of the self in the actuality of the world. The self
presents itself there outside itself, but in this presentation it is itself that it
posits. Self-love is the desire and the affirmation of this autoposition: out
side itself, in objectivity and in exteriority, the subject has the moment of
its authenticity and the truth of its fulfillment.
Thus self-love indeed has the structure of love: here also, it is a mat
ter of "having in another the moment of one's subsistence." In one sense,
the formulas of love and of property respond to each other infinitely in the
philosophical economy, each one giving to the other its stability or its
movement.
Iflove is the gift of the self, it would thus also be, dialectically, the ap
propriation ofthe self. Self-love would therefore be at the heart of love, it
would be its ' heart" the heart of love, and this implacably reconstituted
economy-the dialectical economy of fulfillment, the capitalist economy
of an absolute surplus value of the self-would proscribe love from the
heart oflove itself. The tradition knows well this absence oflove from love
itself. La Rochefoucauld, in this respect, sums it all up, or there is Nietz
sche's formula "a refined parasitism," and so on until Levinas, for example,
who writes, "To love is also to love oneself within love and thus to return
to the self." Actually, the problem has been posed since the Aristotelian dis
cussion of philautia, of the love of oneself, and it has traversed and trou
bled all Christian thought since Saint Augustine. (The question that dom-
260 PLEASURE
inated all the debates of the Middle Ages about love was the question of
knowing "if man, by nature, is capable ofloving God more than himsel£")
One coulcl' eyen explain by way of this absence the missed. rendezvous be
tween philosophy and love: if the latter always frustrates love or diverts it
to self-love, if love finally lies to itself and lacks itself, how could one fail to
forever lack it? And how could one not substitute for it sometimes its dis
membered parts (the sexual organ, sentiment . . . ) , sometimes its subli
mations (friendship, charity . . . )?
III
But this knowledge is too slight. Love frustrates the simple opposi
tion between economy and noneconomy. Love is precisely-when it is,
when it is the act of a singular being, of a body, of a heart, of a thinking
that which brings an end" to ,the dichotomy between the love in which I
lose myself without reserve and the love in which I recuperate myself, to
the opposition between gift and property.
Of course, philosophy and theology have always surmounted and di
alecticized this opposition: God's love for himself in his son brings itself
abour as a love for man on the part of this same Son, given, abandoned,
and retaken in glory, with all of creation redeemed and brought into rela
tion, through the love thus received, with its creator. But the separation is
thus surmounted only because it is annulled in its principle: God gives
only what he possesses infinitely (in a sense, he thus gives nothing), and re
ciprocally, he possesses only what he gives. (He is the proprietor par excel
lence; he appears to himself in the totality of objectivity-and that is what
the idea of the "creation," in this respect, signifies. And if our time still had
to be one of such a research, it is in an entirely different direction that we
would have to look for the mystery of the "god of love.")
Love brings an end to the opposition between gift and property with
out surmounting and without sublating it: if! return to myself within love,
I do not return to myselfJrom love (the dialectic, on the contrary, feeds on
the equivocation) . ! do not return ftom it, and consequently, something of
I is definitively lost or dissociated in its act of loving. That is undoubtedly
why I return (at least if the image of a return is appropriate here), but I re
turn broken: I come back to myself, or I come out of it, broken. The "re
turn" does not annul the break; it neither repairs it nor sublates it, for the
return in fact takes place only across the break itself, keeping it open. Love
Shattered Love 261
re-presents I to itself broken (and this is not a representation). It presents

this to it: he, this subject, was touched, broken into, in his subjectivity, and
he is from then on, for the time of love, opened by this slice, broken or
fractured, even if only slightly. He is, which is to say that the break or the
wound is not an accident, and neither is it a property that the subject could
relate to himself For the break is a break in his self-possession as subject; it
is, essentially, an interruption of the process of relating oneself to oneself
outside of oneself. From then on, lis constituted broken. As soon as there is
love, the slightest act of love, the slightest spark, there is this ontological
fissure that cuts across and that disconnects the elements of the subject
proper-the fibers of its heart. One hour oflove is enough, one kiss alone,
provided that it is out oflove-and can there, in truth, be any other kind?
Can one do it without love, without being broken into, even if only
slightly? .
The love break simply means this: that I can no longer, whatever
presence to myself I may maintain or that sustains me, pro-pose myself to
myself (nor im-pose myself on another) without remains, without some- .
thing of me remaining, outside of me. This signifies that the immanence
of the subject (to which the dialectic always returns to fulfill itself, includ
ing in what we call "intersubjectivity" or even "communication" or "com
munion") is opened up, broken into-and this is what is called, in all ·
rigor, a. transcendence. Love is the act of a transcendence (of a transport,
of a . transgression, of ::I. transparency, also: immanence is no longer
opaque). But this transcendence is not the one that passes into-and
through-an exteriority or an alterity in order to reflect itself in it and to
reconstitute in it the interior and the identical (God, the certainty of the
cogito, the evidence of a property). It does not pass through the outside,
because it comes from it. (Transcendence is always thought as a self-sur
passing: but. here it is not at all a "surpassing," and even less "self-"; tran
scendence is the disimplication ?f the immanence that can come to it only
from the outside.) Love does not stop, as long as love lasts, coming from
the outside. It does not remain outside; it is this outside itself, the other,
each time singular, a blade thrust in me, and that I do not rejoin, because
it disjoins me (it does not wound, properly speaking: .it is something else,
foreign to a certain dramatics of love).
The movement of the transcendence of love does not go from the
singular being toward the other, toward the outside. It is not the singular
being that puts itself outside itself: it is the other, and in the other it is not
262 PLEASURE
the subject's identity that operates this movement or this touch. But in the
other it is this movement that makes it other and which is always other
than. "itself" in its identity; that is what transcends "in me." This tran
scendence thus fulfills nothing: it cuts, it breaks, and it exposes so that
there is no domain or instance of being where love would fulfill itsel£
This does not mean that this transcendence accomplishes only what
we would call-for example, in the theory of the sublime-a "negative
presentation." (Love, certainly, has the most intimate relations with the
sublime and with this extreme mode of presentation that I have attempted
to de�ignate elsewhere as the "sublime offering" (see Chapter II); but with
the offering, it is already a question ofwhat, in fact, exceeds the sublime it
self, and within love it is perhaps a' questlon, in the final analysis, of that
which exceeds love.) When the transcendence that touches me presents the
unfulfillment of love (which becomes neither substance nor subject), it at
the same time offers its actual advent: love takes place, it happens, and it
happens endlessly in the withdrawal of its own presentation. It is an offer
ing, which is to say that love is always proposed, addressed, suspended in
its arrival, and not presented, imposed, already having reached its end.
Love arrives, it comes, or else it is not love. But it is thus that it endlessly
goes elsewhere than to "me" who would receive it: its coming is only a de
parture for the other, its departure only the coming of the other.
What is offered by transcendence, or as transcendence, is this arrival
and this departute, this incessant coming-and-going. What is offered is the
offered being itself: exposed to arrival and to departure, the singular being
is traversed by the alterity of the other, which does not stop or fix itself any
where, neither in "him," nor in "me," because it is nothing other than the
coming-and-going. The other comes and cuts across me, because it imme
diately leaves for the other: it does not return to itself, because it leaves
only in order to come again. This crossing breaks the heart: this is not nec
essarily bloody or tragic, it is beyond an opposition between the tragic and
serenity or gaiety. The break is nothing more than a touch, but the touch
is not less deep than a wound.
Transcendence will thus be better named the crossing of love. What
love cuts across, and what it reveals by its crossing, is what is exposed to the
crossing, to its coming-and-going-and this is nothing other than fini
tude. Because the singular being is finite, the other cuts across it (and never
does the other "penetrate" the singular being or "unite itself" with it or
"commune"). Love unveils finitude. · Finitude is the being of that which is
:...
Shattered Love 263
infinitely inappropriable, not having the consistency of its essence either in

itself or in a dialectical sublation of the self Neither the other nor love nor
I can appropriate itself nor be appropriated ("Infinity of one and of the
other, in the other and in. the one"-Valery).
This is why desire is not love. Desire lacks its object-which is the
subject-and lacks it while appropriating it to itself (or rather, it appro
priates it to itselfwhile lacking it). Desire-I mean that which philosophy
has thought as desire: will, appetite, conatus, libido-is foreign to love be
cause it sublates, be it negatively, the logic of fulfillment. Desire is self ex
tending toward its end-but love does not extend, nor does it extend it
self toward an end. If it is extended, it is by an upheaval of the other in
me. (Along with desire, all the terms of this contemporary lexicon are for
eign to love: demand, seduction, dependence, and so on, and more gener
ally, an entire analytics-that is not only of the "psych" variety-of the
amorous operation as . calculation, investment, completion, retribution,
and the like.)
Desire is unhappiness without end: it is the subjectivist reverse of the
infinite exposition of finitude. Desire is the negative appropriation that the
dialectic tries indefinitely to convert into positivity. It is infelicitous love
and the exasperation of the desired happiness. But in the broken heart, de
sire itself is broken. This heart is no more unhappy than it is happy. It is of
fered, at the limit between one and the other "sentiment," or one and the
other "state." And this limit corresponds to that of its finitude: the heart
does not belong to itself, not even in the mode of a desire, and even less' in
the mode of happiness or unhappiness. To love "with .all my heart" puts a
totality into play-that of the crossing-to which I cannot accede. Cor
tuum nondum est totum tuum (Baudoin du Devon). The heart of the sin
gular being is that which is not totally his, but it is thus that it is his heart.
(Actually, the heart is not broken, in the sense that it does not exist
before the break. But it is the break itself that makes the heart. The heart
is not an organ, and neither is it a faculty. It is: that I is broken and tra
versed by the other where its presence is most intimate and its life most
open. The beating of the heart-rhythm of the partition of being, syncope
of the sharing of singularity-cuts across presence, life, consciousness.
That is why thinking-which is nothing other than the weighingor testing
of the limits, the ends, of presence, of life, of consciousness-thinking it
self is love.)
Love does not transfigure finitude, and it does not carry out its
264 PLEASURE
transsubstantiation in infinity. (The transsubstantiation is infinite, without

being the infinite.) Love cuts across finitude, always from the other to the
other, which never returns to the same-and all loves, so humbly alike, are
superbly singular. Love offers finitude in its truth; it is finitude's dazzling
presentation. (This could be said in English: glamor, this fascination, this
seducing splendor reserved today for the language of makeup and of the
staging of faces. Glamor: love's preparations and promises.)
Or perhaps love itself is eclipsed in this outburst, at once because it
does not stop coming and going, never being simply present, and because
it is always put into play farther off than everything that would have to
qualify it (sublime love, tender love, foolish love, implacable love, pure
love, abandoned love). Nietzsche's Zarathustra says: "Great loves do , not
want love-they want more:"
To Joy and Concern

So I say it again and again, pleasure is shared.
-Lucrerius
In one sense-and in a sense that will perhaps always conceal the to
tality of sense, assignable as such-love is the impossible, and it does not ar
rive, or it arrives only at the limit, while crossing. It is also for this reason
that it is missed by philosophy and no less by poetry. They do not miss
love simply because they say it and because they say that it is fulfilled,
whether by a divine force or in the splendor ofwords. It is true that in say
ing "I love you," I suspend all recourse to gods as much as I put myself
back in their power, and that I unseat the power of words as much as I af
firm that power at its peak. But philosophy and poetry still feed themselves
on these contradictions. But there is more, for in one sense, nothing hap
pens with "I love you," neither power nor effacement. "I love you" is not a
performative (neither is it a descriptive nor a prescriptive statement). This
sentence names nothing and does nothing. {"Though spoken billions of
times, I-love-you is extralexicographical; it is a figure whose definition can
not transcend the heading.")4 It is the very sentence of indigence, immedi
ately destined to its own lie, or to its own ignorance, and immediately
abandoned to the harassment of a reality that will never authenticate it
without reserve. In one sense, love does not arrive, and, on the contrary, it
Shattered Love 265
always arrives, so that in one way or another "the love boat has crashed.
against the e�eryday" (Mayakovsky).
But "I love you" (which is the unique utterance oflove and which is,
at bottom, its name: love's name is not "love," which would be a substance
or a faculty, but it is this sentence, the "I love you," just as one says "the
cogito")-the "I love you" is something else. It is a promise. The promise,
by constitution, is an utterance that draws itself back before the law that it
lets appear. The promise neither describes nor prescribes nor performs. It
does nothing and thus is always vain. But it lets a law appear, the law of the
given word: that this m!1st be. "I love you" says nothing (except a limit of
speech), but it allows to emerge the fact that love must arrive and that
nothing, absolutely nothing, can relax, divert, or suspend the rigor of this
law. The promise does not anticipate or assure the future: it is possible that
one day I will no longer love you, and this possibility cannot be talcen away
from love-it belongs to it. It is against this possibility, but also with it,
that the. promise is made, the word given. Love is its own promised eter
nity, its own eternity unveiled as law.
Of course, the promise must be kept. But ifit is not, that does not
mean .that there was no love, nor even that there was not love. Love is faith
ful only to itself The promise must be kept, and nonetheless love is not the
promise plus the keeping of the promise. It cannot be subjected in this way
to verification, to justification, and to accumulation (even if there are, in
disputably, illusory or deceitful loves, loves without faith and law, that are
no longer of love-but these are counterfeits, and even Don Juan is not
one of them). Love is the pr�mise and its keeping, the one independent
1
of
the other. How could it be otherwise, since one never knows what must be
kept? Perhaps unlike all other promises, one must keep only the promise it
self: not its "contents" ("love"), but its utterance ("I love you"). That is why
love's ultimate paradox, untenable and nonetheless inevitable, is that its
law lets itself be represented simultaneously by figures like Tristan and
Isolde, Don Juan, or Baucis and Philemon-and that these figures are nei
ther the types of a genre nor the metaphors of a unique reality, but rather
so many bursts of love, which reflect love in its entirety each time without
ever imprisoning it or holding it back.
When the promise is kept, it is not the keeping, but it is. still the
promise that makes love. Love does not fulfill itself, it always arrives in the
promise and �s the promise. It is thus that it touches and that it traverses.
For one does not know what one says when one says "I love you," and one
does not say anything, but one knows that one says it and that it is law, ab-
266 PLEASURE
solutely: instantly, one is shared and traversed by that which does not fix it
self in any subject or in any signification. (If one more proof or account
were necessary: the same holds true when one hears "I love you" said by an
other whom one does not love and whose expectations will not be met.
Despite everything, it cannot be that one is not traversed by something
that, while not love itself, is nonetheless the way in which its promise
touches us.)
II
. Love arrives then in the promise. In one sense (in another sense, al
ways other, always at the limit of sense), it always arrives, as soon as it is
promised, in words or in gestures. Tha,t is why, if we are exhausted or ex
asperated by the proliferating and contradictory multiplicity of representa
tions and thoughts oflove-which compose in effect the enclosure and the
extenuation of a history oflove-this same multiplicity still offers, how
ever, another thought: love arrives in all the forms and in all the figures of
love; it is projected in all its shatters.
There are no parts, moments, types, or stages of love. There is only
an infinity of shatters: love is wholly complete in. one sole embrace or in
the history of a life, in jealous passion or in tireless devotion. It consists as
much in taking as in giving, as much in requiring as in renouncing, as
much in protecting as in exposing. It is in the jolt and in appeasement, in
the fever and in serenity, in the exception and in the rule. It is sexual, and
it is not: it cuts across the sexes with another difference (Derrida, in
Geschlecht, initiated the analysis of this) that does not abolish them, but
displaces their identities. Whatever my love is, it cuts across my identity,
my sexual property, that objectification by which I am a masculine or fem
inine subject. It is Uranian Aphrodite and Pandemian Aphrodite; it is Eros,
Cupid, Isis and Osiris, Diane and Acteon, Ariadne and Dionysus; it is the
princesse de Cleves or the enfant de Boheme; it is Death enlaced around a
naked woman; it is the letters of Hyperion, of Kierkegaard, or of Kafka.
(It is perhaps that-a hypothesis that I leave open here-in love and
in hate, but according to a regime other than that of Freudian ambiva
lence, there would not be a reversal from hate to love, but in hate I would
be traversed by the love of another whom I deny in his alterity. Ultimately,
I would be traversed by this negation. This would be the limit oflove, but
still its black glimmer. Perverse acts of violence, or the cold rage to annihi
late, are not hate.)
Shattered Love 267
From one burst to another, never does love resemble. itsel£ It always
makes itself recognized, but it is always unrecognizable, and moreover it is
not in any one ofits shatters, or it is always on the way to not being there.
Its unity, or its truth as love, consists only in this proliferation, in this in
definite luxuriance of its essence-and this essence itself at once gives it
self and Hees itself in the crossing of th�s profusion. Pure love refuses or
gasm, the seducer laughs at adoration-blind to the fact that they each
pass through the other, even though neither stops · in the other. Plato had
encountered the nature ofEros; son ofPoros and ofPenia, of resources and
indigence, love multiplies itself to infinity, offering nothing other than its
poverty of substance and of property.
But love is not "polymorphous," and it does not take on a series of
disguises. It does not withhold its identity behind its shatters: it is itself the
eruption of their multiplicity, it is itself their multiplication in one single
act oflove, it is the trembling of emotion in a brothel, and the distress of a
desire within fraternity. Love does not simply cut across, it cuts itselfacross
itself, it arrives and arrives at itself as that by which nothing arrives, except
that there is "arriving," arrival and departure: of the other, always of the
other, so . much other that it is never made, or done (one makes love, be
cause it is never made) and so much other that it is never my love (if I say
to the other "my love," it is of the other, precisely, that I speak, and noth
ing is "mine").
There is no maSter figure, there is no major representation of love,
nor is there any common assumption of its scattered and inextricable shat
ters. That is why "love" is saturated, exhausted with philosophy and poetry
(and 't:hreatened with falling into sexology, marriage counseli'ng, newsstand
novels, and moral edification all at once, as soon as it no longer supports -its
major figures, sealed in the destiny of occidental love), if we miss what love
itself misses: that it comes across and never simply comes to its place or to
term, that it comes across itself and overtakes itself, being the finite touch
of the infinite crossing of the other.
Ill-
What thus arrives in the crossing, crosswise, is n�t an accident of be

ing, nor an episode of existence. It is an ontological determination of that
existent that Heidegger names Dasein--which is to say, the being in which
Being is put into play. The putting into play of Being in Dasein and as Da
sein is indissociable from the following: that the world of Dasein is right
268 PLEASURE
away a world "that I share with others," or a "world-with." Because Hei

degger, at the final frontier of philosophy, is the first to have assigned the
being-with in Being itself, we must consider him for a moment.
The "world" that is here in question is not an exteriority of objects,
nor an environment. or neighborhood. It designates the mode of the put
ting into play of Being: through Dasein, Being is being-in-ihe-world
(thrown, abandoned, offered, and set free: that is what "in the world"
means). If the world is Mitwelt, shared world, Being insofar as it is "in the
world" is constitutively being-with, and being-according-to-the-sharing.
The. originary sharing of the world is the sharing of Being, and the Being
of the Dasein is nothing other than the Being of this sharing. (One could
transpose this approximately into a more classical language as follows: that
which confers Being, on whatever it may be, is that which puts in the
world; but the world is a "with"; Being consists thus in being delivered to
the "with.") Dasein is what it is in being originarily with others. And if
concern most properly creates the Being of Dasein ("concern," that is to
say the structure and the thrust of the existent that is offered-to, ahead of
itself), concern for the other is its constitutive determination. Heidegger
names it Fursorge, "concern for" the other, whose analysis shows that it is,
in its "advancing" (as opposed to its domineering) form, the movement of
touching the other in his own concern, of restoring him to this concern or
of liberating him for it, instead of exempting him from it. The concern
for the other sends the other-in sending me to him-ahead of him, out
side of him, once more into the world. The shared world as the world of
concern for-the-other is a world of the crossing of singular beings by this
sharing itself that constitutes them, that makes them be, by addressing .
them one to the other, which is to say one by the other beyond the one
and the other.
I am certainly betraying in part the Heideggerian description. Con
cern or preoccupation for things-and not for others-that are in the
world (Besorgen) plays a role in Heidegger parallel to the Fursorge, and al
though the latter is in effect a fundamental ontological determination, it
does not exactly accede to the privileged position I have just given it. The
analytic of the being-with remains a moment, which is not returned to the
matically, in a general analytic where Dasein appears first of all and most
frequently as in some way isolated, even though Heidegger himself em
phasizes that there is solitude "only in and for a being-with." Moreover,
love is never named and consequently never furnishes, as such, an onto
logico-existential character (although the description of Fursorge greatly re-
Shattered Love 269
sembles a certain classical description of the most demanding, most noble,

and most spiritual love).
I will not undertake here the dense and meticulous explication that
Heidegger's text would demand. I will be content to propose dryly this
double hypothesis: in approaching more closely than we ever have the al
tered (crossed by the other) constitution of Being in its singularity, Hei
degger (I) determined the essence of the Dasein outside of subjectivity
(and a fortiori outside of inter-subjectivity) in a being-exposed or in a be
ing-offered to others, of which philosophy (since Plato? despite Plato?) has
always been, despite everything, the denial, and (2) kept (despite himself?)
the assignation of this Dasein in the apparent form of a distinct individu
ality, as much opposed as exposed to other individualities and thus irreme
diably kept in a sphere of autonomic, if not subjective, allure. In accor
dance with these two gestures, Heidegger was prevented from summoning
love to the ontological register. On the one hand, he could, in effect, only
. collide with the metaphysical-dialectical thinking of love, which had redi
rected Mitsein into the space of subjectivity. On the other hand, love inso
far as it is traversed by Being exceeds the very movement of Fursorge, which
"surpasses and liberates the other"; this movement is still thought starting
from an "I" or from an "identity" that goes toward the other, and it is not
thought as what cuts across and alters I going to the other while the other
comes to it.
It is not at all by chance that Heidegger is silent about love (at least
his references to Scheler, his critique of the theory of empathy, and at least
one allusion made to love demonstrate that this silence was deliberate-if
it were not already obvious that it is deliberate with respect to the entire
philosophical tradition). Love forms the limit of a thinking that carries· it
self to the limit of philosophy. Until thinking extricates itself, it will not be
able to reach love. But what this thinking, at its limit, lets emerge could be
this: that one never reaches love, even though love is always happening to
us. Or rather, love is always offered to us. Or yet again, we are always, in
our Being..:...-and in us Being is-exposed to love.
(Note: I will be even less explicit with Levinas than with Heidegger.
Every philosophical inquiry on love today carries an obvious debt to Le
vinas, as well as points of proximity, such as are easiiy detected here. For
Levinas cleared the path toward what one can call, in the language of To
tality and Infinity, a metaphysics oflove, to the point that this metaphysics
commands, at bottom, his entire oeuvre. For this very reason, a discussion
of Levinas would have to be an enterprise distinct from this essay. I should,
270 PLEASURE
however, indicate what its principle would be. As a citation above recalled,
love remains equivocal for Levinas, reducing itself to egotism. Its transcen
dence lifts· the equivocation only by transcending itself intq fecundity, fili
ation, and fraternity. If!, for my pan, do not thematize such notions here,
it is because another work would be necessary to attempt to extract them
from the oriented sequence that, in Levinas, in a rather classical manner,
hierarchizes them and prescribes them to a teleology. This teleology pro
ceeds from the first given of his thought, "the epiphany of the face": love is
the movement stressed by this epiphany, a mm;ement that transcends it in
order to reach, beyond the face, beyond vision and the "you," the "hid
den-never hidden enough-absolutely ungraspable."5 From this "vertigo
that no signification any longer clarifies" (that of the Eros), the fraternity
of children, lifting its equivocation, can emerge, the fraternity of children
in which, again, the epiphany of the face is produced. Love thus retains at
least certain traits of a dialectical moment. It retains them, it seems to me,
due to the motif of the face. The latter signifies the primordial relation as
the expression of another and as signification. Because this signification is
given at the beginning, it must disappear within love and be recaptured in
its surpassing. I can, on the contrary, grasp the relation with the face only
as second and as constituted. Levinas opposes it, and pre-poses it, "to the
unveiling of Being in general," a Heideggerian theme in which he sees "the
absolute indetermination of the there is--of an existing without exis
tents-incessant negation, infinite limitation," "anarchic." I can be in sol
idarity with Levinas's distaste for certain accents, shall we say, of dereliction
in Heidegger's discourse. But in the es gibt ("it gives [itselfl") of Being, one
can see everything except "generality." There is the "each time," an-archic
in fact (or even archi-archic, as Derrida might say?), of an existing, singu
lar occurrence. There is no existing without existents, and there is no "exist
ing" by itself, no concept-it does not give itself-but there is always be
ing, precise and hard, the theft of the generality. Being is at stake there, it
is in shatters, offered dazzling, multiplied, shrill and singular, hard and cut
across: its being is there. Being-with is . constitutive of this stake-and that
is what Levinas, before anyone, understood. But being-with takes place
only according to the occurrence of being, or its posing into shatters. And
the crossing-the coming-and-going, the comings-and-goings oflove-is
constitutive of the occurrence. This takes place before the face and signifi
cation. Or rather, this takes place on another level: at the heart of being.)
Shattered Love 271
N
.
We are exposed by concern-not that which "we" "hold" for the
other, but by this concern, this solicitude, this consideration, and this re
nunciation fonhe other that cuts across us and does not come back to us,
that comes and goes incessantly, as the being-other of the other inscribed
in being itself: at the heart of being, or as the promise of being.
This concern exposes us to joying.6 To joy .is no more impossible, as
Lacan wanted it, than possible, as the sexologist would want it. To joy is
not an eventuality that one might expect, that one might exclude, or that
one might provoke. To joy is not a fuifillment, and it is not even an event.
Nonetheless, it happens, it arrives-and it arrives as it departs, it arrives in
departing and it departs in the arrival, in the same beat of the heart. To joy
is the crossing of the other. The other cuts across me, I cut across it. Each
one is the other for the other-but also for the sel£ In this sense, one joys
in the other for the self: to be passed to the other. This is the syncope of
identity in singularity. A syncope: the step marked, in a suspense, from the
other to me, neither confusion nor fading, clarity itself, the beating of the
heart, the cadence and the cut of another heart within it.
Everything has been said ofjoying, as oflove, but this word resists. It
is the verb of love, and this verb speaks the act of joy (the joi of courtly
love). Something resists, through these two words (that are only one), the
overwhelming exhaustiveness of discourses on love. It is not so much a re-
. suit, or "discharge," as Freud says and as it is said vulgarly, as an acute in
sistence, the very formation of a shatter (one might say, like Deleuze, "a
hardening that is one with love"). It is not something unspeakable; because
it ·is spoken, the joy is named, but it is something with which discourses
(narratives and poems) can never be even. They have never said it enough,
having always discoursed it too much, declared it too much.
Joy is the trembling of a deliverance beyond all freedom: it is to be
cut across, undone, it is to be joyed as much as to joy: "Love is joy accom
panied by the idea of an exterior cause," writes Spinoza, and he specifies
that with this joy it is not a matter of desire, for "this definition explains
with enough clarity the essence of love. Regarding that of the authors who
define love as the will ofhe who loves to join himselfto the loved object, it
does not express the essence oflove, but its property." But we have to push
"the idea of an exterior cause" to this: to be joyed-to face the extremity of
being, which is to say at once its completion and its limit, beyond desire or
272 PLEASURE
short of it. This is joy, and this also reflects on the essence of chagrin and
of pain. For joy is not appeasement, but a serenity without rest. To joy is
not to be satisfied-it is to be filled, overflowed. It is to be cut across with
out even being able to hold onto what "to joy" makes happen. To joy can
not contain itself Joy is not even to contain joy itself, nor the pain that con
sequently accompanies it. The joy ofjoying does not come back to anyone,
neither to me nor to you, for in each it opens the other. In the one and the
other, and in the one by the other, joy offers being itself, it makes being
felt, shared. Joy knows concern, and is known by it. Joy makes felt, andit
lets go the very essence of the sharing that is being. (Although it mearis di
verting the sentence from its proper context, I will cite Michel Henry: "Far
from coming after the arrival of being and marveling before it, joy is con
substantial with it, founds it and constitutes it.")
This puts one beside oneself, this irritates and exasperates, and the
language for saying it is exasperated. (It would be better to let another
speak, and in a language that would remain, somewhat, on the side:7
Laura the basilisk made entirely of asbestos, walking to the fiery stake with a
mouth full of gum. Hunkydory is the word on her lips. The heavy fluted lips on
the sea shell, Laura's lips, the lips of lost Uranian love. All floating shadowward
through the slanting fog. Last murmuring dregs of shell-like lips slipping off the
Labrador coast, oozing eastward with the mud tides, easirig starward in the iodine
drift. . . . I kept it up like a Juggernaut. Moloch fucking a piece of bombazine.
Organza Friganza. The bolero in straight jabs. . . . We embraced one another
silently and then we slid into a long fuck. [Henry Miller])
But this is shared too much within the other. It is not that identity,
in joying, simply loses itself It is there at its peak. There is in fact too
much ideqtity-and joying opens the enigma of that which, in the syn
cope of the subject, in the crossing of the other, affirms an absolute self To
joy poses without reserve the question of the singular being, which we are
no doubt barely on the way to broaching. It is the question ofthat which
remains "self" when nothing returns to the self. the very question of love, if
love is always proffered ( I love you") and if joy, coming from the other,
"
coming and going, is, however, always mine.

It is the question of a presence: to joy is an extremity of presence, self
exposed, presence ofse/fjoying outside itself, in a prese"uce that no present
absorbs and that does not (re)present, but that offers itself endlessly.
To try to enter into the question, one could say at least this: selfthat
joys joys of its presence in thepresence ofthe other. He, she, is only the pres
ence of the reception of the other presence-and the latter cuts across. The
Shattered Love 273
presence that cuts across is a burst. To joy, joy itself, is to receive the burst
of a singular being: its more than manifest presence, its seeming beyond all
appearance-ekphanestaton, Plato said. But it is by onese/falsp that he, she
who joys is bedazzled. It is in himself thus that he is delighted. But he does
not belong to himself, and 4e does not come back to himself: he is shared,
like the joy he shares.
What appears in this light, at once excessive and impeccable, what is
offered like a belly, like a kissed mouth, is the singular being insofar as it is
this "self" that is neither a subject nor an individual nor a communal be
ing, but thatr-she or he-which cuts across, that which arrives and de
parts. The singular being affirms even better its absolute singularity, which
it offers only in passing, which it brings about immediately in the crossing.
What is offered through the singular being-'-through you or me, across
this relation that is only cut across-is the singularity of being, which is to
say 'this: that being itself, "being" taken absolutely, is absolutely singular
(thus it would be that which remains "self" when nothing comes back to
the self) .
This constitution is buried at the heart of being, but it emerges in
outbursts of joy. One could say: being joys. One would thus define an on
tological necessity of love. But love is neither unique nor necessary. It
comes, it is offered; it is not established as a structure of being or as its
principle, and even less as its subjectivity. One would thus define a neces
sity without a law, or a law without nGcessity, thus: the heart of being
within love, and love in surplus of being. One could say, at the limit, the
fundamental ontology and the caprices oflove. The correlation would nei
ther be causal nor expressive nor essential nor existential nor of any other
known genre. Perhaps it would no longer be necessary to speak of correla:"
tion. But there is this brilliant, shattering constitution of being. "Love"
does not define it, but it names it, and obliges us to think it.
Postscriptum
-You wrote: "It might well be appropriate that a discourse on love
be at the same time a communication of love, a letter, a missive, since love
sends itself as much as it enunciates itsel£" But you didn't send this text to
anyone. And you know very well that that doesn't mean. that you sent it to
everyone. One can't love everyone.
-,-But a letter, a missive, once published, is no longer a missive. It is a
274 PLEASURE
citation or a mimicking of one. About how many poets do the biographers

or the critics tell us that their poems are far from the reality of their loves?
-And don't you think that "I love you,'� by itself, is already a cita
tion? Listen to Valery: "To say to anyone I love you is to recite a lesson. It
was never invented!" Recitation for citation, you might have risked that..
You might have risked playing at losing the distance of discourse.
-I didn't want to. I was afraid, if I played that game, that it would
be even more discourse, and not necessarily more love.
-And nonetheless, aren't you ever touched by a poem, by a letter, by
a dialogue of love? And do you really believe that your love-if you have
one, how could one know?-owes nothing to these public dispatches?
. -I know. I know my debt, and I know that I don't pay returns. But
you also read that I would want to be exempt from love, to be even with it.
The splinters that cut across me, coming from another, from you perhaps,
or coming from me, that is still something other than "love," other than
this burden of the word and its declaration. It is lighter, more relaxed; it is
not subject to the grandiloquence oflove.
-There is then no excess, no infinite transport in this raving: it must
be only this other? Only him, her, to whom you send your love, and if not
there is no love? But each time, and even if you switched every day, and
even if you love several at a time, love is addressed to one alone, singularly
and infinitely: does not your lighmess forget that?
-No, I haven't forgotten that. But this infinity is minute, and the
words of love are too big for it. Or rather, they are really too small. . . . I
don't know anymore. I should perhaps give them all to you, send them all
to you, all imprinted, as one touches everywhere the minute infinity of
skin, with impatience, with this boundless disorder that never finds an or
der or a measure, except by being always shaken, always broken, rushed to
multiply itself, a nervousness of fingers on masses, on flanks, and in secret
folds-with nothing more that is secret, in the end. . . . I should have sent
everything, a thousand pages of love and not one word on it, to you alone.
All the words of love from everyone. . . . It would have flown into pieces,
barely thrown toward you, as it always flies into pieces as soon as it is sent.
-Yes, it's made for that.
Translated by Lisa Garbus and Simona Sawhney
WORLD
I
I·
f
I
I
13
I
I
I
In Praise of the Melee
For Sarajevo, March 1993
"Sarajevo" has become the name for a complete system of reduction

to identity. It is no longer a sign beside a road or in a history; it is no 10ngeI;
a place to visit, to conduct business or a liaison; nor is it the uncertain
space of fortuitous encounter or of distracted meandering. It is a dimen
sionless point on a diagram of sovereignty, an orthonormal index on a bal
istico-political computer, an immobilized target in a gun sight; and it is the
very cipher of exact aim, the pure pinpoint of an essence. Somewhere out
there, a pure Subject declares that it is the People, the Law, the State, . the
Identity in the name of which "Sarajevo" must be purely and simply iden
tified as a target.
Sarajevo: no longer even a name, but a sign hung over our eyes in
such a way that there would no longer be a Sarajevo landscape or journey
to Sarajevo, merely a pure and naked identity. Nothing else should come
into consideration; nor should we-other cosmopolitan Europeans-get
mixed up in it.
A city doesn't need to be identified by anything other than a name,

which marks a locus, the locus of a melee, of crossing and halt, of entan
glement and commerce, competition, release, circulation, scattering of
lights. The name of a city, like dIat of a country, like that of a people, and
like that of a person, should never be the name of any one person; it should
278 WORLD
always be the name of no one who could actually be presented in person,

as it were, or as his or her own person. The "proper name" has no meaning
or, rather, the meaning that it has is little more than the sketch of a de
scription, indefinite in principle and in fact. An inchoate and stochastic
sense, a melee of syllables swarming over the border of a semantic identity
that is gently, obstinately deferred. From the moment that a proper name
arraigns a presence in person, a sovereign Subject, this sovereignty is
threatened, hemmed in, under siege. In order to live in Sarajevo, there was
no need to identify it. From this point on, however, those who die in Sara
jevo will die of the death of Sarajevo itself; they will die of the militarily
imposed possibility ofidentifying this name with some substance or some
presence that measures up to the "nation" or the "state," some bodily sym
bol erected precisely in order to body forth and to symbolize what was only
a place and a passage. Those who are exiles from Sarajevo have been exiled
from this place, expunged by that body. They have been exiled from the
mix, from the melee that made Sarajevo what it was, but that, as such,
made nothing, engendered no ego. The "proper" name should always dis
solve the ego: the latter opens sense, a pure source of sense, while the for
mer points to a melee, gives rise to a melody: Sarajevo.
I was asked to write something "in praise of mixture." What I'd like
to do is to write praise that is itself "mixed." Not in the literal sense ofwrit
ing something that is partly praise and partly blame, only to end up with a
null account ofloss and gain, nor in the sense of singing faint praise, evok
ing, an odd concept, a sort of extreme lukewarmth. Instead, it is a matter
(as everyone knows; it's there for all to see, if only we knew how to look for
it and to accept what is at stake), against wind and tide-and we know
how many of those there can be-simply a matter, of conceding nothing,
neither concerning identity nor concerning what mixes with it or mixes it
up flns et origo. What we need, then, is praise mixed with reserve, with the
reserve used when we do not want-that's the last thing we want!-our
praise to betray its object by having identified it all too well.
In truth, the most fitting and most beautiful praise of mixture
would be not to have to praise it, since it's scarcely possible to discern or
identify this notion. It presupposes isolated pure substances and then the
operation of their mixture. It's a notion th�t belongs in the laboratory. But
would it ever occur to a painter to praise the blending of colors? He or she
In Praise ofthe Melee 279
has nothing to do with the specter of pure colors; the painter has no
choice but to concern him- or herself with the infinite derivation and
melee of their nuances.
Now, because it was always possible that someone was going to coin
the detestable slogan "ethnic cleansing," this demands some sort of re
sponse. Not a response in the form of a symmetrical counter-slogan, how
ever. This is why I'm seeking, above all, to avoid conferring too much iden
tity on mixture itself. To make sure of this, we're going to need to shift
accent and genre; we're going to need to move from mixture to. melee.
To do justice to identities-without giving in to their delusion, to

the presumption that they are, substantially, identities ("subjects" in this
; sense): this is the job in hand. It's both immense and very simple: to re
1 -·
I make culture, no less, to remake thought so that it is not crude, rubbish,
like any thinking of purity; to remix lineages, paths, and skins, but also to
describe their heterogeneous trajectories, their networks, which are at once
crossed and distinct. In no way, though, is this to believe "man" to be sim
-pIe, homogeneous, or present. Nor woman. Nor the Croat, nor the Serb,
nor the Bosnian. To know (but what sort of knowledge is this?) that, from
now on, the subject of knowledge can only be someone, like everyone, of
mixed blood.
Mixing is a delicate operation, fragile, subtle, and volatile; today, this
delicacy is usually coarsened, obscured. There does exist-and I'm not the
first to point this out�a version of praise for mixture that derives from the
more acceptable forms of "political correctness," that is, from the norma
tive petrification of the most well-founded exigencies. This kind of praise
can celebrate, if need be, multiculturalism, hybridization, generalized ex
change and sharing, or a transcendental variegation.
But we know, or we feel we know, that things are not quite so simple,
that turbulence, mixtures, errancies, or confusions aren't enough in them
selves. Or rather, and first of all, we know that they do not lend themselves
to being thought as such. And that's the whole question.l
But there also remains..,-and, sadly, this is something with which
we're even more familiar-a discourse that simplifies in order to fuel its
rage, to inflate the value of distinction, identity, propriety, purity, a dis
course that employs the word "cosmopolitan," for example, with evident
280 WORLD
contempt and even disgust (sometimes clearly tinged with anti-Semitism)

for what it denotes.
Finally, and as is only fitting, there are th<?se who step back from the
conflict between these two forms of"correcrness" and who recite an endless
catechism of unity'within diversity, of complementarity, and of well-tem
pered differences. This well-intentioned discourse, though often welcome
amidst the cries of moral and political urgency, remains on the level of in
tention and exhortation. It doesn't address the very things that are at stake.
Let's be clear on this from the start: the simplistic praise of mixture
may well have lead to mistakes, but the simplistic praise of purity has up
held and upholds crimes. In'this respect, we don't need to sustain any sense
of symmetry, of equilibrium. There's no happy medium here. There's noth
ing to discuss. ' Even the most meager discussion, the least second thought
about any racism or about. any "purification" whatsoever, already partici
pates in the crime. Moreover, the crime here is always double, both moral
and intellectual. Every racism is stupid, obtuse, fearful. (I always feel a cer
tain reticence when faced with long discourses and big colloquia on the
subject of racism: it seems to me that we bestow too much honor on this
trash. And this is why I am bothered by the idea of a "praise of mixture": it
is as if mixture as such were a "value" or an "�uthenticity" yet to be re
vealed, whereas it is, in fact, obvious or, rather, on closer inspection, proves'
not even to exist-if it is indeed the case that there has never been any
thing "pure" that one could or should "mix" with some other "purity.")
We're not talking about maintaining some happy medium between
these opposed theses. These theses only exist insofar as there is some sim
plification and denaturation of what's at stake.
' I'
By d�finition, a mixture is not a simple substance to which we could

assign a specific place or nature, that we could claim as such, and that we
could consequently praise without hesitation. By definition, identity is not
, an absolute distinction, cut off from everything and therefore distinct from
nothing: it is always the other of an other identity. "He's different. Just like
everybody else."2 Difference as such is indiscernible. Mixture and identity
cannot pin one another down. They have both always already happened,
are both always already past or both always . stiIl to come. And they are
common, shared by everyone, between everyone, as much as they are
shared by one another.
I
I
Precisely because mixture is put into the mix (mixed up in the
melee); it isn't a substance. Nor can we replace the nonsubstantiality of its
content with the supposed consistency of the container: such · is the diffi
I
,
culty with ideologies of the melting pot, which suppose the "pot" to con
tain, in every sense of the word, with all 'the virtues of its own identity, the
I enigmas of mixture along with its disruptive forces.

Hybridization [metissage] isn't "something," and, if the hybrid-this
I hybrid [metis] that each of us in one way or another is-is someone, this
isn't due to an essence of hybridization (a contradictory notion), but is so
1- insofar as the hybrid gives a punctuation, a singular configuration, to the
without-essence of hybridization. To essentialize mixtute is already to have
I dissolved it, to have melted it into something other than itsel£ Hence, We
shouldn't claim to be speaking about mixture as such, least of all in order
to be hymning its praise.
Mixture, as such, can take two forms: that of a fusion, an accom
plished osmosis, or that of an achieved disorder. Alchemy or entropy, two
phantasmatic extremities-:-which can only join up or be identified with
one another in an apocalypse or a black hole. And yet mixture is neither
the one nor the other; nor is it a · happy medium between the two. It is
something other, or, rather, it "is'" otherwise, totally otherwise.
Rather than mixture, therefore, we would be better off speaking of

melee: of an action rather than a substance. To begin with, there are at least
two kinds of melee-indeed, there is perhaps never any such thing as a
melee "pure and simple." There is the melee of combat, and the melee of
. love. The melee ofAIes, the melee ofAphrodite. Neither is never identified
with the other. There is neither entropy nor alchemy.·A joust that couldn't
happen without desire and without jealous assault, without appeal to the
other as an always other other.
(The melee of AIes isn't war in the modern sense of the term, how
ever, something that is usually a long way removed from a melee, moving
\
282 WORLD
as it has toward extermination even before any hand-to-hand combat,

something that aims to crush or to suppress the opponent rather than take
him or her out of the fight, something that has no room for combat, no
"combat zone," but instead spreads out indiscriminately, killing, raping, ir
radiating, gassing, and infecting "civil" space as a whole. Today, war is pure
mixture without limits, and not a melee. And we could make the same
point with respect to the melee of Aphrodite, about the orgy or the porn
movie.)
Mixture, therefore, is not. It happens, it emerges. There is melee,
crossing, weaving, exchange, sharing; and these are neither a single thing
nor the same thing. To begin with, mixture is an "it happens" rather than
an "it is": displacements, hazards, migrations, clinamens, encounters,
ch�ces, and risks. So there is no one, nothing unitary: in a melee, there is
countervalence and encounter, there's resemblance and distancing, contact
and contraction, concentration and dissemination, identification and al
teration.
Mixture is not simply "rich" with the diversity that it mixes. Insofar
as it is itselfnothing, it ceaselessly escapes this diversity, as well. There is a
rather foolish quantitative discourse-a basically capitalizing or profiteer
ing discourse-of "mutual enrichment." But what is at stake here is nei
ther wealth nor poverty. Cultures-or what are called cultures-don't add
up. They encounter one another, mix with one another, alter one another,
reconfigure one another. All cultures cultivate one another: they clear one
another's ground, irrigate or drain one another, plough one another, or
graft themselves onto one another.
To begin with, every culture is a configuration, a melee from the off
set. The first culture was a melee of races or species, erectus, flber, sapiens.
The West, so proud of the "Greek miracle" of its foundation, should con
stantly ponder the ethnic and cultural diversity, the movement of peoples,
the transferences and transformations of practices, the deviations of lan
guage and morals, that configured "the Hellenes," made them what they
were. Let us reread the history of this melee:
The beginning of the second millenniwn B.C. sees a phenomenon of extraordinary

novelty: a cosmopolitan culture emerges in which we can recognize the input of
diverse civilizations built next to or in the middle of the sea. The civilizations were
either those internal to empires�Egypt, Mesopotamia, the Asia Minor of the
Hittites-or those scattered upon the seas and sustained by cities-the Syrian
Lebanese coast, Crete, .and later Mycenae. From that point on, however, they all
communicate between one another. All of them, even Egypt, ordinarily so closed
, ;.
� .' '.: .-.

in on itself, turn toward the outside with a passionate curiosity. It is the era of voy
ages, of the exchange of gifts, of diplomatic correspondences, and of princesses
sent to be spouses to foreign kings as a token of these new "international" rela�
tions. The era when all the peoples of the Near East and the Agaean-Cretans,
Mycenaeans, Palestinians, Nubians, Canannites-begin to show up in their na
tive costumes on the frescos in Egyptian tombs.3
Every culture is in itself "multicultural," not only because there is a prior

acculturation or because there is no pure and simple provenance, b�t more
importantly because the gesture of culture is itself a gesture of melee: of
confrontation, transformation, deviation, development, recompositibn,
combination, cobbling together.
It's nor that there's no "identity." A culture is single and unique (al
ways assuming that we're still happy with the word "culture," which seems
to have identified in advance what is at stake in it. And yet this word iden
tifies precisely nothing. It is a way of short-circuiting all the difficulties that
crowd in when we try to say "people," "nation," "civili�ation," "spirit,"
"person ty, etc. . . .
all " ) A "culture" denotes a certaIn "umty, " a "one. " And we
cannot neglect the fact and the principle of this "one," still less deny it, in
the name of an essentialization of "mixture."
And yet, to the extent that this "one" is clearly distinct and thus dis
tinguished, it is still not its own pure and proper foundation. Avoiding
confusion between distinction and foundation is undoubtedly the whole
problem; it is this confusion and this distinction that are, philosophically,
ethically, and politically at stake in the discourse that surrounds "identity"
'
or "subjects" of all types. As such, the absolute distinction of Descartes's' ego
existo ought not to be confused with the foundation that Descartes links to
it, in the purity of a res cogitans, In the same way, for eXample, "French"
identity doesn't need to found itself in Vercingetorix or Joan of Arc in or
der to exist . . .
The unity and unicity of a culture are one and the same by way of a
mixture or of a melee. It is a melee that, within any given "culture," brings'
out a style or a tone; equally, however, it brings out ·the various voices or
vocal ranges that are needed in order for this tone t() be interpreted. There
is a French culture. But this culture has many voices and is nowhere pres
ent "in person," as it were-except for those who confuse it with the Gal
lic cock, or with Dupont-la-Joie. The voice ofVoltaire isn't the same as thilt
�\ .
284 WORLD
of Proust, nor is Proust's voice the same as that of Pasteur, Pasteur's not the
same Rita Mitsouko's. Equally, it's perhaps not as though such voices are
ever purely and simply French: what is and is not French in Stendhal, in
Hugo, in Picasso, in Levinas, in Godard, in Johnny Hallyday, in
Kat'Onoma, in Chainoiseau, in Dib? Again, this doesn't mean that there's
no "French identity" : it means that an identity of this type is never simply
identical in the way that a pencil is identically the same today as it was yes
terday (supposing, at least, that this example isn't always going to be mate
rially imprecise . . . ). The identity of the pencil leaves this precise pencil
much less identifiable as "this one here" (which is, up to a certain point,
any pencil whatsoever) than the identity of a culture leaves that particular
culture, or the identity of a person leaves that particular person. In order to
illustrate the difference, we might term the second identity an ipseity, a
"being-self-same."
An ipseity is not the pure inertia of the same remaining entirely the
same set at no distance from itself that's how we imagine the being of a
stone or of God . . . An ipseity can be identified or makes its identity
known. In order for that to occur, there needs to be a network of ex
changes, recognitions, relays from one ipseity to another, from difference
to difference. An ipseity takes on matter through and for the other, 'pro
vided that there is an other or that there are others from which, with its
singular touch, it takes and to which it gives a certain identifiable tone
that is, a tone which is unidentifiable, inimitable, unattributable to an
identity. "Ipseity" would name what precisely it is about an identity that it
is always and necessarily impossible to identify.
As a matter of fact, a pure identity would not only be inert, empty,
colorless, and flavorless (words which describe many of those who uphold
pure identities): it would be an absurdity. A pure identity annuls itself,
cannot identify itself It is solely identical to an itself that is identical to it
self, and that thus goes around in a circle and never attains existence.
Was there, for example, anyone pure enough to be worthy of the
name '�an"? We know how this question could lead a real Nazi, a Nazi
who identified absolutely with his cause or with his thing, to sterilization
or even to suicide.
'purity is a crystalline abyss in which the identical, the proper, or the
authentic collapses into itself, null, taking the other with itself so as to con
vert it into the abyss. The absolute and vertigin.ous law of the proper is that
it purely and simply alienates itself in appropriating its own purity. Another
form of mixture: mixing-in-itself; auto-mixture, autism, autoeroticism.
A language is always a melee of languages, something halfway be

tween the total confusion of Babel and the immediate transparency of a
glossolalia. A style is always an intersection of tones, borrowings, intervals,
and forced correspondences, to which it lends a trope. Undoubtedly, every
style seems to tend toward an ultimate, sovereign trope, which would be
the trope of an absolutely proper language, an absolute idiolect. But an ab
solute idiolect or idiom would no longer be a language at all; it would no
longer be able to mix it up with other languages in order to be the language
th�t it is; it could no longer be translated so as to be the untranslatable that it
is. A pure idiolect would be idiotic, wholly deprived of relations and so of
identity. A pure culture, a pure propriety would be idiotic.
What is a community? It is neither a macro-organism nor a big fam

ily (always assuming we know what an organism or what a family actually
are . ' . . ). The common, having-in-common or being-in-common excludes
from itself any interior unity, any subsistence and presence in itself or by
itself To be with, to be together, and even to be "united" is precisely not to
be "one." Of communities that are at one with themselves, there are only
dead ones. These are not to be found in the cemetery, moreover, a place of
dispersed space, of distinction; no, they lie in the ashes of ovens or under
the soil of mass graves.
So, too, has the systematic rape· of Bosnian women unfurled in ex
emplary fashion all the figures of the delusional affirmation of a commu
nity "one" with itself: rape in order to engender "bastards," deemed unac
ceptable, excluded a priori from the presupposed unity; rape in order to
force the abortion of these bastards; rape, then, in order to kill and destroy
the very possibility of the bastard; rape so that this repeated act will draw
its victims into the fantastic unity of their "community"; rape in order to
make manifest in every possible way that there should be no relations be
tween communities. A null act, a negation of sex'itself, a negation of rela-
286 WORLD
tion, a negation of the child, of the woman; an act of pure affirmation on

the part of the rapist, in whom a "pure identity" (a "racialized" identity) is
unable to offer anything better than a vile imitation of what it negates: re
lation and being-together. (In general, what undoubtedly remains exem
plary about rape is that it operates through a relation of which it is also the
negation. It pursues relation, pursues melee.)
What we have in common is always also what distinguishes us and
differentiates us. What I have in common with a .Frenchman is that I am
not the same Frenchffian as he is, the fact that our "Frenchness" is nowhere
to be found, in no essence, no completed figure. In saying this, it's not a
matter of the nothingness of a figure, but a matter of an outline that's al
ways in the process of being traced, a fiction that's always in the process of
being invented, a melee of traits. It is not that identity is "always on the
way," projected onto the horizon as a guiding star, as a value or as a regula
tive idea. Even as an infinite projection, identity is not going to arrive, is
not going to identity itself Why? Because the melee is already there.
I am already there when my mother and my father get mixed up with
one another. It is I who mixes them together. I am their melee. Yet I do not
engender myself
What is a people? Yes, there are ethnic traits. It's rare for us to take a
Sicilian for a Norwegian (even though the Normans were also mixed up in
Sicily . . . ) . But could we confuse a Sicilian "of the people" with an upper
class Sicilian? Perhaps we'd have more chance in Chicago, say, of confusing
a Sicilian "of the people" with a Pole of the same "people," an aristocrat
from Palermo with a grand-bourgeois from Lyons. As a result of no longer
wanting to know anything about classes, we end up disavowing the most
everyday realities. Granted, a class is no longer conceivable as an identity,
and, it's (perhaps) because classes were configured as identities rather than
as conditions that certain totalitarianisms were possible. But it's precisely
not a matter of pitting one identity against another. It's a matter of prac
ticing singularities, of practicing what only gives or exposes itself in the
plural: singuli, "one by one," is a word that only exists in the plural. Ipseity
only exists singularly distributed: it is "itself," so to speak, the originary dis
trib:ution, dissemination, sharing of what-.pse itself-is never present
anywhere as such, "in person."4 .pse "is" its own dispersion.
It is nothing-it's everything, even-but we still have to think this
totality of dispersion, this whole. We still have to think a melee.
: ;�.�.�-..:.. -: ·c >
_ �." ,�,��,,�c�=',=�.6��=,0�==,=�,==c��
•_
Mixture as s,uch does not exist, any more than purity as such. There
is neither pure mixture nor intact purity. Not only is there no such thing,
but this lack is itself the law of the "there is": there would be nothing if
there was anything pure and intact. Nothing "pure" exists that does not
touch otherness, not because we can't help rubbing shoulders with others,
as if this were simply an accidental condition, but because only touch ex
poses us to these limits on which identities or ipseities can sort things out
[se deme/er] between themselves or can extricate themselves from one an
other, from the midst of all the others. There is neither the simply mixed
nor the simply identical; what there is is the always-incessant mix-up of
one with the other.
The melee ' is not accidental; it's originary. It is not contingent; it's
necessary. It is not; it always happens.
Melee ofAres and melee of Aphrodite, melee of these melees: blows
and embraces, assaults and truces, rivalry and desire, supplication and de
fiance, dialogue and dispute, fear arid pity, and laughter as well. And melee
of Hermes, melee of messages and conduits, bifurcations, substitutions,
competition between codes, configurations of spaces, borders made to
cross, so that crossing becomes sharing, because there's identity only when
shared, divided, mixed, distinguished, cut off, common, substitutable, un
substitutable, withdrawn, exposed.
Why is the "passport photo," the photo most oriented toward iden
tity, the most colorless of all photos? Why is it always the worst likeness?
Equally, why are ten passport photos ofthe same person always so differ
ent from one another? When does somepne resemble him- or herself?
When the photos show what it is about him or her that is more than iden
tifiable, more than the "face," the "image," the "traits," or the "portrait" in
sofar as they are functions of the diacritical marks of an "identity" ("black
hair, blue eyes, pug-nosed, etc."), and when these give rise to an inter
minable melee, peoples, parents, kinds of work, pains, pleasures, refusals,
oblivions, wrong paths, expectations, dreams, stories, and all that shakes
and rattles at the gates of the image. Nothing imaginary, nothing but the
real: the real is the real of the melee. A true passport photo, a true "photo
of identity," would be an indefinite melee of pho�os and graphics that
would resemble nothing and beneath which the proper name would be in
scribed as a caption.
288 WORLD
This caption would have to be read, decoded, and narrated-but it

wouldn't be a myth: that is precisely to say, it wouldn't confer an identity
upon the ipse or upon someone for whom it would be the legendum est, the
"this is to be read." What is to be read is what has,been written. Myth isn't
written: it's projected and proffered, pure flourish or upsurge, without
trace, without history. Not only does myth identify, but, above all, it iden
tifies itself: it is the infinite presupposition of its identity arid of its au
thenticity. If! say ''Ares,'' ''Aphrodite,'' "Hermes," or "France" in a mythic
mode, I may have already said in these names more than all that can be
said about them-and we can never say anything legitimate about them
that would not have been authenticated in them in advance. Only the
voice of France can utter what is French. Myth is sense that is its own sub
ject, the proper name as the idiosemy of an idiolect.
But what is written and wh;:l.t is there to be read is something that
doesn't precede its own tracing; it is the melee of the traces of a sense that
gets lost as it seeks itself and invents itsel£ Only today I read that Sarajevo
is a city made up of at least three cities, both successive and simultaneous.
I read that Bosna-Saray is mixed together with Milijacka and with Ilidza.
Translated by Steven Miller
14
Responding to Existence
For what are we responsible? For the possible effects of the space
probe that passes outside the solar system; for the fragile constitution of
Bosnia-Herzegovina; for the juridical problems posed by the Internet; for
the transformation of the objects of African rituals into art curios; for the
spread of AIDS; for the return of scurvy; for the invention of marine agri
culture; for television programs; for public supp.ort of poetry; for poetry
with or without support; for the memory and the explanation of all geno
cides; for the history of the West, now spread to the entire world, at least
in Deleuze's sense when he says that "we are not responsible for the victims
but responsible before them."! Ultimately, .we are responsible for every
thing that could possibly be said to concern action or morals, nature or his
tory; we are responsible�so we tell ourselves, and so, in any case, thinkers
and writers tell us-for being, for God, for the law, for death, for birth, for
our own existence, for beings as a whole. But which we? We, each one of
us, insofar as we know where the individual begins and ends (and it is
surely from the standpoint of responsibility that things are least deter
minable); but also we, all of us, insofar as we know what it is to be-together
(and here again responsibility makes choice into a problem). Knowing this,
and the problems or aporias that follow from it, is our �esponsibility. As for
knowing or thinking what is meant by a responsibility limited by nothing
in space or time, limited neither by imputing subjects nor by fields of ap
plication, this is, again and above all, our responsibility, a responsibility,
moreover, that faces no one but ourselves.
290 WORLD
This isn't a caricature. If it initially seems like one, that is because it

is hard for us to focus on a situation from which we can't take a distance
and that, from every side, represents the self-consciousness of our times.
Once there's nothing-no power, no index of sense or nonsense--that could
be said to be in charge of a destiny (taken here in the broadest sense of the
term: story, lot, providence, destination, etc.), once there is no authority
that could measure responsibility for us, divide it into circumscribed parts
and define its scope, then there is nothing that could be sheltered from a
responsibility that slowly becomes identical to existence itsel£ Or, perhaps
a little more accurately: if the word destiny still makes sense, however we
chqose to understand this (as tragedy or progress, salvation or catastrophe,
liberation or errancy, moira, ananke, vocation, envoi), it will always be as
responsibility. A measureless responsibility is only the measure of a destiny
that defies all the dimensions of destiny itsel£
At such an extreme, does the word "responsibility" still mean any
thing? Of course, a measureless responsibility is quite prepared to dissolve
all actual responsibility by deferring it from one subject to the next ad in
finitum and by drowning obligation in an absolute and ilOgraspable equa
tion of freedom and necessity. A double ideology of general responsibility
thus emerges: on the one hand, the responsibility of progressively greater
collective authorities: organizations, States, markets, networks, systems; on
the other, the progressively more open responsibility of the individual, who
is required to take charge of his or her own life, his or her own work,
leisure, environment, relations, and, since one thing leads to the next, the
entire interdependence of systems themselves. On the one hand, it calls for
connections without either interruption or end; on the other, it calls for ef
fective solidarities between subjects who are themselves supposed to be ab
solute persons of reason and right. Ultimately, these two sides cover each
other and dissolve into one another. The responsible subject escapes and is
still at large.
In this regard, there can be no doubt that the moral, juridical, and
political task is always going to be that of determining-in legislation, in
evaluation, in the instruction of cases-what it is that will allow us pru
dently to determine (in the old and strongest sense of the word "pru
dence," which, in fact, paves the way for the sense of the word "responsi
bility") the measure of an imputable responsibility. And yet, like a
mounting responsibility whose charge is neither given nor programmed,
this means that the "reasonable" and the "acceptable" can be only mediocre
I:
I·
r Responding to Existence 291
I and even labile means. Ifwe were able to distinguish between essences, we
\,
·I ·
I might say that, in a world of guilt, relation to the law is fixed and given,
whereas in a world of responsibility, the subject's engagement precedes and
r exceeds the law. '(Between them, we might situate· the Christian world of
I sin; in which it is the sinner who is first accused rather than the crime it
I self.) This is also why the exercise of responsibility can be rewarded and
I honored as well as punished according to its outcome; in the same way, I
I can make myself responsible for something for which no other authority
I can charge me.
I Without there being any legislator to give us ail apriori measure, if it

falls thus to us to take responsibility for measuring responsibilities and for
discerning responsible persons as well as their obligations and engage
ments, then our self-consciousness of our times wouldn't grasp in vain at a
disturbing excess of responsibility that can equally lead toward the ariguish
of irresponsible gaiety. We call responsible any being capable of promising:
thus Nietzsche, who was doubdess the first to speak of a total responsibil
ity, of a humanity. boundlessly responsible to itself and to the world.2 Hu
manity becomes thus the promise of itself. And this, perh�ps, is modern
history and its worlding: not simply being given, any more than being sim
ply promised or given over by someone to someone else, but being a prom�
ise of the self such that the "self" ends up being confused with this prom
ise and is bound thus to answer the anticipation of an infinite law-"to
stand security for one's own future," Nietzsche says.3 Surely this is our
truth; strange, provocative, incisive, like all truth.
Now, it's not by chance that Nietzsche calls the subject of this re
sponsibility "the philosopher." He writes: "The philosopher as we under
stand him, we free spirits-, as the man of the most comprehensive ·re
sponsibility who bears the burden of the over-all development of
mankind."4 We can read this phrase in one of two ways. We can under
stand it as basically "totalitarian" and thus suppose that the "philosopher"
is a distinct-individual or collective-figure, the messenger of a vision of
humanity upon which he undertakes to model humanity. But we can also
read it as saying that what is named or, rather, denoted here by "the
philosopher" isn't a figure living out a fantasy but is defined only by this
measureless responsibility that is itself the responsibifity of man insofar as
he is determined not as man but, as Nietzsche says immediately afterward,
as the "as yet undetermined animal."5 "Philosophy" means, therefore, nei
ther knowledge nor belief, but responsibility for what is neither knowledge
292 WORLD
nor revelation, for what is not available, for what does not even have con
cept or signification.
In this way, Nietszsche's phrases punctuate what must surely be seen
as one of the most powerful traditions of modern philosophy, if not its tra
dition par excellence or its first virtue: it places at the apex or end of
thought the act of commitment to an unconditional demand, a demand
that doesn't come to it from outside itself or from outside thinking thought
as the thinking of humanity in the double sense of the genitive. In fact, this
was already present in the sense that Kant gave to the notion of freedom
and, with it, to a responsibility in which the subject-the "intelligible per
son"-is confronted in itselfas if by a "holy .being" and sees "all our duties"
as divine commands.6 These very duties, however, are properly without
end; they are the duty to treat humanity-defined not by any given ra
tionality or any nature but as the being of ends alone-as an end in itSel£
Kant's conception of humanity, to which we are all heirs, lies in being re
sponsible for oneself as an infinite end.
Were there more space we could show how this thought is deployed
and modulated in Hegel (for whom Reason is nothing given and consists
only in engaging and deciding for itself), in Schopenhauer, in Kierkegaard,
in Marx, in Husserl (who, in his marginal notes to Being and Time, ad
dresses the possibility of what he calls the philosophy of "absolute respon
sibility" ),? in Bruno Bauch or NicolaI Hartmann, in Heidegge� (for whom
ontological being-in-debt is founded upon the antic model of responsibil
ity).8 (Allow me to break of(at this point in order to point out that there
would be plenty to say about the importance of the general and generalized
thinking about responsibility that took place in the twenties and thirties, ··
just after the Great War, and about the way in which this thinking engages
in an intimate and complex discussion around the motifs of destiny, his
tory, or fatality-a discussion to which Valery's reflections, for example, are
a reliable witness). Finally, and as we know only too well, responsibility has
had a continuous hold right up to our own time, whether in Sartre {let me
cite just one remark that is perhaps emblematic in this regard: "to make
ourselves responsible for the world as ifit were our own creation"),9 Blan
chot, Adorno, Bloch, Levinas, Hans Jonas, or Derrida.
The common thread that ties together such disparate names is itself
woven into two separate strands: first, there is the prevalent motif of re
sponsibility, of being or existence ultimately defined by responsibility; sec
ond, there is the motif that philosophy or thinking is itself both responsi-
Responding to Existence 293
bility and "absolute" responsibility. We need to focus on the interweaving

of these two motifs in order to refine the observations opened up by Nietz
sche. Not only has responsibility become a principle theme in modernity
and, moreover, an ontological theme at that; not only has it become a
theme of quite staggering range (in Jonas: responsibility for the entirety of
history, for nature and culture, for God himself); more than all this, phi
losophy, which thinks this limitless responsibility, has come to see itself as
the exercise of a sort of archi-responsibility. In other words, thinking isn't
initially or only given in the form, the tone, or the style of knowledge or in
a particular "conception of the world," but has been shown to be an en
gagement and a promise (a "prophecy" in Bloch's sense of the term). As a
result, thinking has changed its tone, its style of writing; it ensures that
what is at stake in and for it isn't just a representation or an interpretation
but itself In linguistic terms: this thinking is already . the performative of
the responsibility that it wants to think.
One response to this is to say that this was always philosophy's pre
tense and that, in fact, philosophy wouldn't know how to do without it.
But once philosophy declares and "performs" or demonstrates itself to be
responsible and absolutely responsible, ii: commits itself to sense and thus
to a sense that is still to come, to sense's future, rather than merely de
scribing or delivering sense as if it were already in place. Philosophy in this
sense exposes rather than proposes; more accurately, its propositions (its
meaning or its truth) are indissociable from the exposition through which
it commits itself, promises itself, and risks itself
This doesn't mean, then, that thinking is simply responsible. Rather,
it is a thinking for which responsibility constitutes both the content and
the act (or, drawing, tongue in cheek, on a more Husserlian vocabulary:
noema and noesis). This thinking can only think in terms of responsible
engagement: far from thinking denoting a disengagement from latent
meaning, it denotes an opening onto a possible sense, a sense that . isn't
given but promised or guaranteed as something that is to come-"to
come" not in the sense of something that will "definitely be there tomor
row" but, on the contrary, in the sense of something risked in the manner
of the unknown and unforeseeable character of what is still to come. In
·
short, the �nly thing that is assured is the risk; but the language of cer
tainties is of little use here, and doesn't mean that the risk is covered over.
It means that it is open.
Once again, however: what this thought commits to and takes re-
294 WORLD
sponsibility for is responsibility itself, the content of a "responsibility prin

ciple." Redoubling, mise en abyme, or infinite regress, perhaps, but it is to
this that thinking commits itself; essentially, it is a matter of being respon
sible, of being absolutely responsible, of a responsibility without limits, of
a responsibility that is nothing less than being itself, a responsibility for be
ings as a whole or for God (Jonas) or one for the other (Levinas), for the
infinite or the absolute, for truth, for its eternity and the present of its
manifestation.
The question arises once more: For what is there responsibility?-a
question that is now sharpened or disturbed by the insistent, obsessive tes
timony that philosophy bears, a testimony that is necessary regardless of
whe.ther we disqualifY it as ideology,· as the illusion of the temporary sub
stitution of a real failure and a deception of action, or approach it head on
in order to understand it.
In what does absolute responsibility consist, therefore-whether as a

responsibility to responsibility itselfor as a responsibilityfor responsibility?
In what does pure responsibility consist, responsibility that is responsible
for nothing definite and that is faced with itself alone, but faced with itself
as if it were faced with every other and as if it were faced in another direc
tion entirely, facing a subject of responsibility defined only by an analogon
of holiness, for whom, still according to Kant, this analogical character is
precisely what removes all positivity, all determination? Yes, it is described
in terms of holiness, but this holiness is without paradise or beatitude,
without glory, without grace, without virtue.
What we have to do, therefore, is think this responsibility as nothing
other than the responsibility of sense. But sense is still, is always, what re
sponds to a responsibility. By this I mean that while we are absolutely re
sponsible for sense, while sense (or truth; in this instance I'd be prepared to
run them together) is that for which we are responsible, sense isn't just one
more thing for which we can be responsible (like the management of a job,
the solidity of a wall, health, happiness, or someone's life). Sense is not in
itself independent of the responsibility of sense. It only gives itself to a be
ing that is in a position to answer for it. Every act of language, every ex
change of signs, consists in the anticipation of sense, the promise or guar
antee that 'what ought to come from the other alone and be or make sense
II Responding to Existence
only in, for, and by him will actually reach the other�as well as the other
295
!
in me. As such, it's not that I grant sense because I already possess it. It's
not that I draw on a secure reserve of sense that I simply then transmit.
Rather, I promise, I anticipate a sense that is not yet there and will, in fact,
never be there as something completed and presentable, a sense that is al
ways in and according to the other, making sense only by being exposed to
the other, to the risk of not making sense, to the always, certain risk -of
changing the sense of the other and so of always being other, always being
altered, always being outside, being by itself, as sense, a being-infinitely-
'
for-of-the-other.
Without this infinity, there is no sense; as such, it is nothing less than
an unreserved responsibility for this infinity. Absolute responsibility came
to us with the absolute infinity of grounds and ends, with the moral law
and the starry sky, with the death of God and the birth of the world, that
is to say, with existence submitted to our absolute responsibility. Nothing
else counts, nothing else is seriously at stake, above all not those values,
virtues, and supplements of the soul that so�e have made a profession of
spouting and that have no sense outside the absolute break with all re
ceived horizons.
What continually precedes itself in another or-and the two are
much the same-the aspect of the other that continually precedes itself in
me and hence in all others, assuming that nothing holds this proliferation
back and fixes it, is sense: a sense that has neither direction nor signifiCa
tion, which takes every possible means [voies] of exchange, and plays with
all the references [renvois] of the sign. What makes sense is always beyond
sense, in truth: a future, an encounter, a work, an event; and, once the fu
ture has become present, once the encounter has taken place, the work re
alized, the event faded, then sense-their own sense-moves along again,
passing beyond and elsewhere. When we're given a reason to live, always
supposing that this happens, when such a reason is given, deposited and
available (whether it takes the form of the life of a child or of a just soci-
, ety), it still has to have another reason beyond it, beyond even life or jus
tice, one that is not present-this is the moment of dying, which is yet an
other way in which sense is punctuated by the truth of its referral to the
other and of its absence of certainty. Sense is only guaranteed by its own
movement of expansion or flight-or, if you prefer, its own imminent con
tagion or its own transcendent excess.
Sense, then, has the same structure as responsibility: it is engage-
296 WORLD
ment, oath. Spondere is to engage by a ritualized oath. ID To one's sponsio,

the other's re-sponsio responds. The response is first of all a. re-engage
ment-an engagement in return for what engaged us or what engaged it
self for us: · the world, existence, others. It is a guaranteed exchange without
any guarantee of making sense. It is a mutual pledge to truthfulness with
out which neither speech nor expression [ regard] would be possible. So,
when one answers for, one also responds to--to a call, to an invitation, to
a question or to a defiance of sense. And when one responds to, one an
swers for-for the sense that is promised or guaranteed. If I'm asked the
time, I guarantee that I will give the right ti�e. If I'm asked about love or
justice, I guarantee the unassureable infinity of these words. What we usu
ally call a "response" is a solution; here, though, it is a matter of the refer
ral or the return [renvoi] of the promise or the engagement. Sense is the
engagement between several beings, and truth always, inevitably, lies in
this between or in this with.
This is our responsibility: it isn't a task assigned to us, but an assign
ment that constitutes our being. We exist as this responsibility; that is, to
use Heidegger's term, we ek-sist, we are exposed to one another and to
gether to world, to the world that is nothing other than this exposition it
self Existence is responsibility for existence. To which we should immedi
ately add: we can substitute the difficult wo�d "democracy," but the logic is
the same.
This responsibility is as empty as. it is absolute. This emptiness is its
truth: the opening of sense. This ·emptiness is everything, therefore, every
thing except nothingness in the sense that nihilism understands it. Ni
hilism affirms that there is no sense, that the heavens of sense are empty. In
a sense, absolute responsibility says the same thing: that there is no given
(present, available, configured, attested, deposited, assured) sense, that
sense can never be given. It says that existence is engaged in this absence of
the given in order to give sense every chance-indeed, perhaps sense is
made up of nothing but chances.
There is a measureless responsibility because there is, on the one

hand, an unlimited interdependence of humans, of things, of nature and
history, of information and decision, and, on the other hand, an imputing
subject who is nothing other than each and every one of us together, and
-
:"., .�.. �" !,,-,"....,,,.!;,,::.r. :....'.f'.-\ :�"".""'_"" ".. �....._ ' \;,.,�••,�.,:...:: , • •" . _� • • •
in each and every one of us an indefinite number of instances, degrees,

stages, and connections. We might well go along with Derrida, therefore,
in saying that "consciousness of a limited responsibility is a 'good conscience"
and that "good conscience" is the negation of conscience. 1 1 The responsi
bility of the "intelligible person" has boiled down to the responsibility of
the world. The world is responsible for itself Better still: the world-or the
totality of sense's references-is this responsibility and nothing else. The
world is constituted thus by a promise-of-self, by an anticipation of its be
ing and its world-truth. Here, however, anticipation does not mean fore
casting or pred,icting a future. Yes, it involves foresight, but it assures no
providence. It signals that the world precedes itself, passes beyond itself,
transcends or transgresses itself in a sense-of-the-world that is its truth.
This movement beyond the self toward the other, this excess of the other
I in the self, is both sense and responsibility. Each in the other and each for
i the other: this is what we call thinking.
1-'i Thinking, though, not in the sense of a reserved exercise or a philo

sophical discipline, but in the sense of the responsible praxis of sense.
! Thinking in the sense of its becoming the oath of truth, the engagement,
I
the pledge and the putting into play of the response to what never ceases
I to call, to "interpellate," as they say today, calling the subject of sense that
everyone is. Indeed, each one of us is this subject to such an extent that
each one of us is it infinitely, absolutely, well beyond or before all egoism,
all individual personality or community.
Hence, too, existence realizes that it is responsible "to the point of ir
responsibility," as Blanchot was to say of Bataille, or as Adorno similarly
said of art.12 It knows that what it responds to is, in the end, the absence of
response, and thus a total freedom and dispersion of responses. We have to
be able to engage ourselves to the point of play and gaiety, of promising in
toxication or of no longer promising anything.
We are responsible for. sense, since sense is not the response of a sig
nification that would saturate the announcement, the sending or the gift of
sense, thereby bringing our responsibility to an end. This is why Ernst Tu
gendhat, for example, can define responsibility in community by calling
into question what it is that defines the idea of the "good life" as an "ap
propriation (of this idea) on the model of the question of truth'" or on the
model according to which "the perspective of the good is offered to us in
the knowledge of nonknowledge."13
What's more, we can be fairly certain that no final signification-
298 WORLD
God or Humanity, Knowledge or Justice, Power or Happiness-ever gen

uinely had as its function the abolition of the infinity of sense and the ab
soluteness of (ir)responsibility. What confronts us today is precisely the
formal knowledge-the knowledge of nonknowledge, even-of the fact
that every supreme signification always signifies, beyond itself, the respon
sibility for an ultimate irresponsibility of sense. In the last instance, we are
accountants of the measureless, and this requires that we be able to bear
and to settle, precisely and prudently, the absence of every given response
and the eternal return of this silence in response. Existing requires nothing
less of us.
This is the most rigorous and most sever� of demands. It is the very
place of rigor, logic, ethics, poetics, the place of responsibility that thought
is: to resist being seized by a captation of sense, to resist identifying it, as
signing it, or embodying it, figuring it or reifyingit by turning it into doc
trine or intellectual traffic. But to do so while ceaselessly and endlessly. tak
ing up the engagement, reengaging it beyond any possible certainty, to
take the disproportionate risk, and to make of it our ownmost measure.
Equally, and for the same reasons, to abdicate the serious pose and the
pedantic precautions of those who would give lessons about responsibility.
Existence and democracy-if these words didn't have to denote the
dull horizon of acquired certainties-democratic existence is neither a
given, nor a matter of regime, nor an armature of rights. It is an equal and
necessary sharing of thought as the absolute responsibility of sense.
And yet-as I hope I have made clear-it's not enough simply to
name sense and then leave it to its indetermination, as if it were some sort
of magic word. And this, even less than the word, which should serve me
again today, is already visibly abandoned to usury or to inflation. "Sense,"
it should again be said, is not an available or constructable entity, any more
than it is the more or less illusory fulfillment of its pure intention. Sense is
what makes one return to the other and what therefore makes it so that
there is one with the other. This is why it is always of the order of response:
not the response to the question, which closes research or relieves the de
mand, but the response to the address. One always addresses the truth in
me-and I always return the address to the truth in the other. It is often
said that philosophy only poses questions. I would say that today it has to
think only of the response: not a response-solution or a response-verdict,
. but a co-respondence. In such co-respondence-which defines our co-re
sponsibility-there must be something that does not close the exchange
but, on the contrary, institutes and relaunches it. There must be voices,
timbres, and singular modes. These voices are in themselves, in their co-re
spondance, the creation of sense. Democratic responsibility is responsibil
ity for such a creation. But immediately and from the outset, this means
that democracy itself is not something given, an available sense. It is re
sponsible precisely for what is not given: the demos, the people; the ones
with the others.
Translated by Sara Guyer
15
. Changing of the World
During the sixth decade of the twentieth century-the twentieth of

these centuries counted up in the compurer of a culture that they will soon
overHow-a form of civilization, and thus a figure of existence, began to
show the marks, the fissures, the inclinations of its disappearance, and so
also the marks, fissures, inclinations of its metamorphosis into another
configuration.
Not a "crisis," then, as was said for decades and as is sometimes still
said today (decades later, while the displacement continues on its way, in
terminable and always barely perceptible, like all transformations that one
day show that they have divided history into large, heterogeneous blocks).
A crisis appears to a continuum that it affects and that it perhaps deforms
or reforms, all the while keeping it as its point of reference. On the other
hand, the metamorphosis (the rupture) of figures of existence takes place
in a discontinuity of histories and in the incommensurability of their
worlds, for which there is no point of reference. But the breach is at once
so slow and proliferates so widely that it is only perceptible from afar, once
it has been completed.
In fact, today, since the "sixties," we have been engaged in an analo
gous passage from one "age" to another. The twofold difference between
these ages lies in the fact that, on the one hand, there is no Christianity (no
eschatological resource) and, on the other, we now know that the course of
history is continually broken up by the mortality of civilizations. No more
Changing ofthe World 301
than our distant ancestors, however, do we have the benefit of a vantage

point from which we could See the fault opening beneath our feet, the
shifts that are under way, or what it is that either makes the leap �r is en
gulfed by it as it widens. Regardless of whether it's a matter of someone
who has lived an entire lifetime or a matter of the generations that hand
down memories, no aspect of the upheaval can be given a form or the rea
sons for it be provided.
Yet we are talking about major ruptures that affect everyone, every
generation, and all their images, languages; ways of life. From one mo- .
ment to the next, this opens in us, allowing us to see this vast drift [derive]
of the world. From one moment to the next, w� find ourselves sensibly
and physically outside ourselves, outside the blind slipping away of our
little stretch of time. We see the night that borders our time, and we touch
on some aspect of it-not the future, but the comil1g of something or
someone: the coming of something that is already of us and of the world,
but that has to come from somewhere else, displaced elsewhere into an
unimaginable elsewhere.
Perhaps it is an ability to touch, in the darkness, this coming else
where, this breaching of time, of space, and of all orientation, that will
have defined a character trait specific to modernity. Modernity knows itself
to be exposed (this is both a threat and a desire) to what is not itself and is
not there, but is nonetheless very close or continually approaching.
Exposed: turned toward, yes, but without thereby having either a
. specific course or a guide, perhaps without even an awaiting, but in a situ
ation that verges on exceeding both waiting and nostalgia. Finally, despite
everything, an inclination to be and to practice this riven (gaping? open?
offered?) present. Neither comic nor tragic, this inclination could better be
thought as an active abandonment, an engagement fixed on the impossi
ble, that is, on the infinite possibility (the impossibility of saturating a sig
nifying order) that lies at the heart of what has been thought under the
name "finitude," a thought that has followed various paths between the
stitches or folds of the "sixties."
(Of course, the division between decades doesn't have the same ana
lytic relevance as the division between single years or centuries. It "fixes
ideas," as it were, at a point at which nothing is fixed. But this kind of pe
riodization, abusive as it is and overused as it has become-doubtless hav
ing become so since the "sixties" themselves, a term that, we should note,
is an American one-indicates a stake and a concern, that of getting some
302 WORLD
hold on a passage or a rupture whose event, :while sensible, gives a poor ac
count of itself when. marked as an evidential point: "1968," for example.}
So what, then, is at stake in this new and barely discernible present?

It is a matter of the retreat of accomplishment, its model, its horizon, its
normativity. It is a matter of thinking otherwise, elsewhere, from a differ
ent side; not in opposition to accomplishment, though, not in terms of it
dissatisfaction and a lack, but in terms of a displacement as regards the op
position between what is lacking and what is accomplished.
, Accomplishment has started to retreat from 'its values of complete
ness, of fulfillment and satisfied identification. The subject of accomplish
ment-although it would probably be more accurate to say the subject of
practice, of carrying out or effectuation-is no longer the subject (of his
tory, of knowledge, of hurp.anity) that accomplishes itself in a return to it
self. This subject has begun to shift, eroding its return-to-itself (its propri
ety, its authenticity, its purity) with a strangeness that is far closer to it than
any being-self or any being-to-itself The age-old saying "become what you
are" has changed: "be what you are becoming," and be so to the very in
finity of your possibilities, without any final consecration.
Hegemonic enterprises (the clash of powers) have turned into total
izing operations (absorption and exhaustion under a schema). One after
another, these .operations have killed off in their horror every destinal fig
ure, every final representation: those of peoples, of a people, of the people,
of humanity, even. The kingdom of ends has ended by been worn down.
But it was only during the sixties that we could actually begin to discern
the first traits of another space and the beginnings of another, unprece
dented, sovereignty.
In fact, it was the so-called world wars-along with the as yet unin
terrupted chain of postcolonial wars that followed in their wake-that
opened up the possibility of the market becoming truly global; suddenly
it seemed as though there was no more man, no more history, no more
world spirit. True, capital, released from the old forms that had shackled
it, has developed a terrifYing autonomy and autotelism. At the same time,
however, it reaches an extreme point where it is no longer opposed to or
justified by anything; such is the double bind that slowly, quietly, gets
tighter and tighter as we still profess our belief, here in socialism, there in
humanism . . .
The market consumes itself. It becomes like the pure machine of the
pure subject: the return to self of the ,most abstract identity, of a general
equivalence that amounts to nothing but its own -equivalence (to the
averred nothingness of values). One way or another, the market will soon
have no choice but to find a way out of this stranglehold or else go into
convulsions.
The years of the "sixties" didn't see all this, but they did have some
inkling of the progressive, insidious erosion of the checks on and justifica
tions of capital. A fault in history opens up and widens, therefore: a sus
pension of sense.
Sense was assured by the distinction between different equivalencies
(commercial, technological, democratic) and absolute value (humanity,
dignity, community), itself articulated as the active relation between the
progression of a history and its culmination in an end (knowledge, justice,
nature). But this distinction has given way to a general circulation, a sim
ple distinction between places or moments; this no longer seems to make
sense, providing instead a combination or exchange of roles. Imperceptibly
the category of "some day" has lost its appeal. The present appears devoid
of either tradition or future; it has become an unheard-of enigma.
A general malaise, a paralysis, ifyou like, has taken hold of discourse.

In a very short space of time, the same texts and the same theses that once
inspired hope that the world might be made anew, discourses of resistance
and renaissance always bound up, more or less openly, with the demand
for revolution (itself understood as accomplishment), have shown their ir
relevance. In this context, we would need to write the history of discourses
on "alienation" and the difficulties into which they fell; more generally,
though, what has been shc>wn to be false is every thinking of proprietY, the
proper, the pure, the originary, or the authentic, whether these be individ
ual or collective, whether they concern "sense," "nature," or "history."
There are those who feel that these discourses did indeed make it through
the war, but it was the war that cut into them, punctured them, put them
beyond use.
It is not that the "war" (and everything that the word might denote
in this context) was simply a ruinous crisis. The war, which was actually
something very different from a war (this, at least, is one sense of the epi
thet "world" war), was already a kind of response to an upheaval from out
304 WORLD
of the very heart of things, from out of the accomplishment-or the ex
haustion-of a certain form of existence. It took twenty years for that up
heaval to start becoming visible.
For the moment, though, none of this is available 'to us, except as a
sort of profound discomfort. Somewhere, discourse shattered, but it's hard
to say exactly where. And it's not as if we have another discourse to fall
back on. For a long time yet we will have to extend ourselves in the search
for discourses that might supplement the one we have, relay it, start it over.
And while this is going on, the nature of the rifr is only going to become
more evident. We have no other discourse; all we know is that something
has been interrupted, broken down at the heart of discourses that, once
cherished, have now become untenable {philosophies of history, moral
philosophies, and even philosophies, literatures, and poetries as a whole}.
We have no other discourse because it is undoubtedly-we're just begin-:
ning to sense this-the general function of discourse itself that's at stake
here: sense's distinction is coming to an end. It is as if all possible sense,had
been produced and, ultimately, "sense" itself turned out to be a crazed ma
chine and the demand for it a senseless one.
Speech has been severed from speech, and speech now cuts short
what it says. Language has begun to speak through and about the inter
ruption of discourse. It's not a matter of a silence, however, since silence,
along with its potential for mysticism or wisdom, has remained upstream
from the interruption. Rather, it is a matter of another regime of speech,
another concern, another way .of working speech. Speech becomes difficult
and withheld; it can no longer trust in the accomplishment of sense. It
learns another confidence, one that it sets within its t�ajectory, its tracing,
another way of being delivered over.
If language has become, in recent years, an object of an interest that
is powerful and polymorphous (perverse, say those who refuse to under
stand), this is because it needs now to be received naked, the prestige of
sense stripped away, and put back to work, to invention. There needs to be
a meticulous decomposition of the effects and articulations oflanguage; bit
by bit, other voices need to be heard, addressed differently and with dif
ferent rhythms. No longer a differential of sense but a differential of voice,
therefore: something about song renders discourse asunder (breath, mod
ulation, rhythmic transport ofwords, throat noise) . At the same time, how
ever, something strangles song.
• � . .••!.-�'. -
-I,'·
I
It .
'·
Changing ofthe World
By the same token, things emerge in a new light, in a region of pres

ence that signification can no longer reach. All questions regarding pres
305
ence (or the world) are transformed and begin to slip outside the remit of
questioning (what is it? who is it? whence? why?) and to attain a new kind
of assertion (given, withheld, withdrawn, touched). Such questions slip
outside the remit of intention and interpretation, entering into another
truth, flagrant, evanescent, pointed, suspended. This truth is no longer
the truth of objects of knowledge-these take up precise places, ever bet
ter planned and articulated, in constant circulation-but the fantastic ef
fect of Science suppresses itself. Knowledge shows itself to be endless,
since it's no longer itself an end, an exponential development of prolifer
ating technologies.
There is an unprecedented load of the real: things, matters, supports,
skins, grains, and fibers. Art is displaced, therefore; it stops seeking out new
forms and instead transforms itself and, imperceptibly, transports itself
outside its site. Its horizon is no longer that of transfiguration, therefore,
but of a patient practice this side of figures, flush against surfaces, bodies,
clays, pulps, beats, or rhythms, in the very place where objects become
strange, where the world is emptied, decomposed, or recomposed through
and through.
It is no longer a matter of the composition of forms but a matter of
touching ori grounds, ploughing them, scratching them, pinching them,
piercing them, moving thus to the far side of accomplishment, into begin
nings, nascent states, alongside unfettered energies and unleashed tensions,
the breaks and tremors of origins.
J. {
What is happening is that the immense coexistence of things and

people, of beings (in short, the world), has begun to pull away from the
,
representation of a destiny (from an arrangement, an Idea, a kingdom of
j ends), has started to matter in and of itself, to refer to and to network with
I
itself; in short, it has started to comprise a co-existence. The sense of the
world no longer lies outside of it; in it, it is its pro�mity and its strange
ness, each one infinite.
�
j This is why, in 1968, the politics of destination-of the model, of
! project or accomplishment, and might that. not also be politics as a whole
Ji (ot the politics of the "theologico-political"), if it's true that we have no
.j
;J
1
I
�
306 WORLD
�ther conception of it-first came to an end. The generalized "democracy"

that has gone hand in hand with the generalization of the market is not an
other political figure; it's the retreat of the political.!
Whence the composite and contradictory character of a conjunc
tion that mixes a crisis of democratic or market growth and a properly
unprecedented retreat of schemas, discourses, ideals. "May '68" was nei
ther a revolt, .nor a reform, nor· a revolution, although it borrowed from
or had something about-all three, yet in that respect was nothing new.
The novelty came from the fact that each one of the three neutralized the
others and that nothing really came of it. What actually took place (and
went mostly unnoticed) was the retreat of various modes of political or
ganization and signification. Whence, at the very moment of the events
themselves, an entirely different notion of being-together. That is what
was properly unprecedented and blinding. That was what made ,"1968"
an event.
-"Retreat" doesn't mean "abolition." On the contrary, it means to re
trace, to pick up the traces by way of an effacement of signs and directions.
The retreat retires behind forms, cuts into the grounds, the dark exterior
and the palimpsest of rebeginnings.
The co-existence of the world (not "in" the world, since the world
isn't a container but the extension of co-existence itself), devoid of any
given composition, system, synthesis, or final assumption, is what has to be
traced.
The culture that's coming to an end is one that thought the coher
ence of the world, its congruence, or its conformity with an order, a plan,
a principle, or an end (immanent, transcendent, both immanent and tran
scendent). The culture in the offing has the job of co�existence, a co-exis
tence that's bound neither to conformity nor to accomplishing itself It
consists in co-presence alone. And co-presence doesn't just refer to itself; it
refers to everyone and to no one, the circulation of a sense that nothing ei
ther retains or saturates, a circulation found in the movement between
places and beings, between all places and all beings, the infinite circulation
of a sense that will end up having its entire sense in this with.
Granted, sense has never before welled up here and now rather than
further away and later on, at a remove. Humanity has never taken place so
exactly, so properly, any more than, say, the world, "nature," and "history,"
given within their strict measure: without epic or apocalypse, without as
sumption, without transfiguration, without exhalation. Yet a sense (a truth)
:
. ._' . . . . . . ..
as sober and as dense as the being-together of all the pieces of the world,
whose proximity, whose community, it provides.
Over thirty years later, it would be possible for us to believe that

nothing actually took place except collapse and engorgement: a world
slumped in upon itself, saturated with physical, economic, and spiritual
devastations. A humanity that knows only that it has destroyed itself-that
it has its own nonbeing and the end of the world on its hands; such is the
whole of its knowledge. A century and a millennium that know that they
have failed to reach their goal.
What is the "historical mission" of capital of which' Marx spoke, a
mission that we have ended up forgetting all about simply in order to
think another mission entirely, that of another Subject of history? It seems
to me that this mission can only be that of paving the way to a knowledge
of a hallucinated self: the knowledge of a self that has to ruin itself in or
der to be itself, of a richness that can only produce its own equivalence
and hence its own annihilation (and, ultimately, its strict absence of any
value whatsoever) .
Now this knowledge isn't false. All the same, it's merely the knowl
edge of what's coming to an end and so fails to measure up to what never
stops coming, what is neither end nor inauguration but the peculiar si
multaneity of all things, unsettling, brutal, tense, and, despite everything,
distributing each one of our places, alongside one another, in its cracked,
gaping, open, offered present.
Finally, though, there is a sense of joy at the fact that there's neither
an accomplished destiny nor one that needs to be accomplished, no solar
or nocturnal substance with which it would need to be incorporated; in
stead, there are numerous bodies alongside one another, numerous points
between which sense is spaced, shared, and scattered. A brief, almost dry
moment of joy, without ecstasy or glory but as hard and alive as a flash of
existence. An uncertain joy, then: almost the laughter of the insane.
CODA
16
Res. ipsa et ultima
"Is there something?" is a question that answers itself or renders itself

redundant, if you like, since someone raises the question and this someone
is. something. In fact, before being-if it manages to be-this enigmatic
or problematic one of someone, someone is something. Quidam, res
quaedam.
In any case, this "before" doesn't denote the anteriority of a bedrock
or a foundation. It is the belated anteriority of a "one" turning back on it
self in order to be the one that it is, to be, in fact, the one that it is sup
posed to be, since one, as such, could never be found if it did not find it-
.
self, if it did not unify and thus relate to itsel£
The thing that is someone before being someone would be this self
relation. But this relation isn't given, isn't achieved or effected, since it's
only in the exercise of this relation and in its being acted out that there can,
by chance, be any one. The only thing there could be, therefore, is the act
ing out of a relation and not the presence of a thing: a "subject" that is not
"substance" but still underlies the itselfwhich, in turn, considers the things
around it. The whole of philosophy from Descartes to Husserl, with the
notable exceptions ofNietzsche and Spinoza (who are not philosophers of
the thing, but of force), has concerned itself with these things, often tor
menting itself over them, which form the backbone. of the contemporary
exhaustion of the modern age.
A thing that thinks-res cogitans--is nothing other than a thing that
relates itself to itself. A thing whose character as a thing, whose thinghood
3I2 CODA
or whose thingness, as Beckett said, or whose reality (which, in Latin, is the

same thing) consists in nothing other than such' a relation, and not in a
presence or in an existence, a being-there [un etre-la] . "Thought" is noth
ing more and nothing less than everything that takes places in the mode of
this relation, everything that shares its reality: feeling, wanting, imagining,
conceiving, and so forth.
Res extensa, on the other hand, the extended thing, is what doesn't
take place along the lines of this or, for that matter, any other relation,
since all relation is ultimately a relation to and of the self: relation in gen
eral supposes that one relates, to the self or to the other. Extensa doesn't
designate the quality of breadth, of surface magnitude: what is extended is
what is precisely nor "one" and wh�t is "one" is precisely what is not ex
tended, the point, say, which is what occurs at no point in space. Extension
is not relation but exposure: the whole point about extension is that it, is
only ever exposed, put forth, turned outward without there being an in
side, nowhere turned back in upon itself and hence devoid of "self"
Res cogitans, res extensa:. everything hinges on the grammatical oppo
sition of these two participle-epithets. The first is active, the second passive.
One type of thing thinks (by itself, which is tautological), the other is ex
tended, by some other thing, or force, but not by itself It has not extended
itself The thing thanhinks can only think itself, no matter what it thinks,
while the extended thing cannot extend itself: the extension is precisely
what has exceeded the "self" in advance.
In relation or exposed are the two possible modalities of the thing in
general. In relation supposes a subject that bears, that brings and that re
lates, because it can bear or present (to an apprehension, a perception, an
intention) only if it has first related the thing to itself, only if it has appro
priated it, only if it has grasped it and retained it, rendered it presentable.
Exposed exclusively supposes being turned in all directions toward an exte
rior that is not, in turn, formed of other faces turned inward, without
these faces relating in any way to the world, neither to each other or to
themselves.
It remains to be seen what these two things have in common, at

least in their denomination as res, as thing, which can itself be qualified
thus: on the one side, as pure inside or as the infinite to-itself of relation
Res ipsa et ultima 313
and, on the other, as pure exterior or as the infinite outside-itself of expo

sure [l exposition] .
(On the one side . . . on the other: but are there two sides to the
thing? Granted, it's hard to imagine a thing withour sides, but is the inside
a side? It is latent, not lateral. And can the latent be lateral to the rest oflat
erality? Is my soul the other side of my body, but still a side, still an ex
posed face? Or is all this just an assembly of sides, each one opposed and
. exposed to the other from every direction [sens], lateral and patent as well
as latent? Nothing more than folded, enfolded, and unfolded sides or noth
ing but one immense side spread out, turned back, over, around, away, lata
res ipsa latus: it's this paradoxical physics and its accompanying geometry
than needs to be addressed here.)
This double qualification of the re.f-whether it be the effect of a
split, of a proliferation, of an outgrowth, or of a graft-gave birth to the
problem of the res, the problem of reality, a problem that will undoubtedly
have been the central problem of our own time (now, along with the prob
lematic itself, moving toward exhaustion).
(Of course, and here as elsewhere, our own time has merely crystal
lized and sharpened the issues that have always bedeviled the West: sensi
blelintelligible, matter/spirit, ourside/inside, improper/proper, . thing/
sense, thing/event, other/self, impenetrable/impalpable, apparentltruthful,
worldly/divine, image/real, and so forth. Western history is the entire his
tory of the pi:oblematic of the real. There is nothing very surprising in its
completing itself in the same way that it began, with the exacerbation of
the feeling that things themselves are disappearing and simulacra taking
over: this feeling, so typical of the old world, actually testifies to the ever
greater hold of the real that renews itself from start to finish.)
Now, how is it that the thing can lend itself to each of these modalities?
The problem can be resolved by resolving the name. Stop saying .
"thing" and say instead cogitanslextensum, relational/exposed. Stop speak
ing of the real, except in order to speak its loss: old nihilism. Or, and this
is virtually the same thing, situate the authentic real in "spirit" and, on the
side of things, see only "thingification" or "reification," ideas that reputedly
mire the subject in its alienation.
Even the old nihilist himself, however, will soo� have to realize that
passing in silence over the re.f-that is, the most general res, of which the
two res would be modes, the most general of res that would also be the
most real, the real itself, the real ground of the real as well as its capital [son
314 CODA
flnds], its realizing (if not wholly rei£Ying) resource-does nothing but
provoke unrest, insurrection, even, over the question of the real, the ques
tion of the thing or of things.
In fact, it's not hard to see that there can be no "relation" without "ex
posure," nor, consequently, one thing without the other: how could a self
. not turn toward a particular face, an outside, of this same self so as to re
late to itself and thus to take place? How could a self be its thing without
also being its thing? How could it be its own thing [sa propre chose] with
out also being properly a thing [proprement chose] ? How, in short, does it
realize itself?
Conversely: how could what is exposed not be exposed to this outside
toward which it is directed but that is equally itself-endlessly the same
outside, each one of its sides folded over and again? And how, then, could
it not ultimately relate to itself? How could this "self" not end up resolv
ing itself in this, its own reduction?
Still: how could the face that the self exposes in order to be a self not
be its own outside, an outside that is nonetheless and necessarily improper
to it, an other that is more fundamenral to the self than the self itself, an
other, then, that isn't the presupposition of the self but, more accurately,
the presupposition of this very presupposition: the nonself, the surface
putted with shadows devoid of all relation, the death's head pondered and
handled by Hamlet or by the subject of the Vanities, the bony thing, hard
and glistening, that disdainfully looks my way [qui me regarde de nul re
gard] , a look with no regard for any presence that might face it but that
dives into me as ifinto nothingness, relating to me in order to withdraw all
relation and to expose me to my self-less self, which, in turn-a turn that
is no longer my turn but the turn at which I have no more turns-is itself
a glistening bone full of holes, dirt packed tight into the sockets.
Equally, however, the death's head runs the risk of distracting us from
what it manifests (and it has done so throughout modern times). The way
in which it is pondered and handled is equivocal, and this ambiguous fas
cination stems from the way in which the skull combines horror at our
own disappearance (the end of all relation) with a maintaining of what dis�
appears (the figure engaged in relation, its look and its rictus).
In this way it is still its own image that the self wants to bring before
,
itself from and as the outside. It finds itself starting out again; it still relates
to what exposes it and to which it is exposed: the subject, then, does not
end up dialectizing its death, making death its thing after all.
But death is devoid of either figure or subject. It doesn't await me at
the end like another me who would still be me turning back toward myself
from the abyss. Rather, death is "here" from the moment that I am "here,"
at once:: and immediately my flesh and bones, the extension of what ex
poses me, the res extensa that opposes the res cogitans only to the extent that
it exposes it, exposes it to itself.
It's time to put death in its place: in things, in the general connection
and exposure of things, and so in the world, rather than in the hideous
outside of a disfigured Subject (disfigured by the very hope of its transfig
uration). Neither from within nor from without does death concern ,a self:
this is its violent paradox, the paradox of being simultaneously so intimate
and yet so improper, the paradox of having already liquidated the very in
timacy that it was supposed to effect: Equally; though, it ought to denote
the "death of God": the end of death as punishment, as annihilation
and/or redemption and resurrection. Death becomes the absolute exposure
that crosses all relation and all relations (to the self, to the other). Yet this
doesn't mean that the thought of death becomes any more bearable. What
it does mean, though, is that we have no relation to it, whether dialectical,
tragic, mystical, whatever. Death isn't something, but the exposure of all
things and-'-thereby-the condition of possibility for all relation (without
it, everything would remain wrapped up in itself, heaped, massed, sunken,
senseless). ,
There can only be relation (the return, the appropriation of a subject
to itself or between subjects, it amounts to much the same thing) if we
start with an absolute distmcing, without which there would be no possi
bility of proximity, of identity or strangeness, of subjectivity or thinghood.
First and foremost, however, this distancing distends relation to the point
of exposition: scarcely am I born before I am outside myself at an infinite
distance, outside simply tur�ed out, exposed to the rest of the world, to all
things. And the same goes for everything, each one exposing universal ex
position differently.
Every thing outside all the others, every thing according to the
stretching that spaces them and without which there would be just one in
distinct thing gathered into the point at which it would annul itself, a
thing unthinged, a de-realized res, a perfect, syncopated subject turned
316 CODA
back in on itself without its having ever reached itself, an extinct, noiseless
trinket, a one annihilated without its belng dead: every thing, then, touch
ing every part ofevery other thing, touching me in the same way, piece by
piece, here and there, always, from time to time, exposing the infinity of
our relations.
Things: the first stone that's thrown, a sheet of paper, galaxies, the
wind, my television screen, a quark, my big toe, a trapped nerve, prosthe
ses, organs planted or grafted beneath my skin, placed or exposed inside,
all things exposing themselves and exposing us, between them and be
tween us, between them and us, together and singularly.
They do so in two ways:

1. On the one hand, they border me, touch me-from a distance or
from any distance, it's still a touch and all senses are senses of touch, in
cluding common sense and the sense of understanding or reason-they set
me up within the multiple spaces of their spacings and according to the
modes of contact particular to their respective faces, their grains, their
textures (rough, shiny, prickly, harsh, supple, tight, loose, vaporous,
sticky . . .) ; equally, they lead me to touch in turn, in an infinite number of
ways, in infinite directions, with infinite gestures, in infinite senses.
Everything that touches thus-brushing up against, penetrating,
distancing, knocking into, absorbing, presenting, kicking itself, hiding
away, simply leaning against-all that makes up the world. The world is
nothing other than the touch of all things and wherever nothing is touch
ing, wherever conta�t is severed, there is nothing; this is the absolute expo
sure of the world turned toward an outside that never takes place, an out
side that immediately turns back to the point at which the world is
exposed to the universal touch of itself alone, to the point at which its
"self" is concc:!aled, to the point that makes up its entire sense.
For that same 'reason the sense of the world is no different from its
polymorphous spacing (attraction, repulsion, curvatures of space-time, ex
pansion, retraction, the initial or final explosion), which itself has no other
sense than the cosmic contact of all things, no other sense than this sens
ing-of-itself that cannot be gathered as a whole.
There is no seifof the world, no universal subjc:!ct through which this
touch could touch itselE
2. On the other hand, things expose the self, refuse to allow it to

come to rest in itself and instead drag it and stretch it outside itself with
out ever leaving it to itself "Self" is the universal relation of sense that rims
through everything, from atom to man, from chlorophyll to plasma, from
stone to iron and from grain to flesh, the relation that endlessly relates it
selfwithout ever relating anything more than what is exposed to what is ex
posed: the interiority of an infinite exterior.
The thing is what the res cogitans and the res extensa have in common:
it is their mutual, inextricable intrication. The early Descartes was well
aware of this when he attributed a quite different reality to the union of the
two things, from an evidence as powerful as that of the ego (c�gito), but
from an evidence that is entirely ordinary and immanent to the course of
things, from an evidence present on the very surface of the most everyday
experience of existence; an evidence that is given without thinking. There's
nothing to prove; there's nothing but the test of the real [il n'y apas a prou-
. ver, il n'y a quCt eprouver le reel] .
The fir�t and last real, the ground of the real and the ground of the
res in all its modes, ultima res, is the identity and difference of relation and
exposure: more accurately, it is this identity in its difference and this dif
ference in its identity (and here, in obviously means outside). The two are
the same, the same thing-insofar as they turn things toward one another;
but they differ absolutely-have nothing in common-since relation refers
to an inside and exposure to an outside. They never encounter one an
other; rather, they pass through one another. The fact that one moves in
the other, and vice versa, doesn't change anything; they are oblivious to one
another and exclude one another as they change roles.
All of which means, then, that the "inside" and the "outside" of the
world, the self and the outside-the-self, subject and thing, are strangely,
paradoxically e�en, the same: the same real that stems from nothing and no
one, that comes from nowhere and goes nowhere, that rests on no ground
and goes uninterpreted, that exists by the mere fact o� existing, by a perfect
necessity that equates to an equally perfect contingency or to the unprece
dented freedom of a being that is merely the chance and the risk of an on
tological surprise.
318 CODA
The thing itself, res ipsa et ultima, is not a particular thing. It is nothing.
More precisely, it is the sameness ofnothing: the nothing relates to it
self, yes, but, being precisely nothing, it is simply and immediately exposed
as something, and therein lies the reason of the world-its ultima ratio-
and its true creatio ex' nihilo: the fact that there is something as an outcome
of nothing.
By the same logic, however, the fact that there is something never
appears as such: there is no such thing as "the" thing "in itself" or for itsel£
The thing doesn't stem from itself nor do things stem from the thing, from
its essence, its origin or its substrate. Even if there is some thing, anything
whatsoever, indeterminate and indifferent, then there is still nothing, since
the.indeterminate and the undifferentiated do not exist. (They do not ex
ist, do not emerge from the pure nothingness that pure being in itself is.)
"There is something" can only mean one thing: yes, there is something, no
matter what it is, but every time that there is, this what is determined, sin
gular, different, and hence there are already more than one of them.
If there is something, then there are some things, lots of them,
whether they be shells or eyebrows, clouds or hammers: several, many, dif
ferent in number as well as quality. The profusions of nature and the pro
fusions of technology contribute to the same sort of abundance, an abun
dance that isn't an end.
Foam, erase, tooth, canvas, synapse, liquid crystal, tentacle, scale,
plank, spume, fingernail, hail, neutron, lymph . . . and so ever indefinitely
on. The time of modernity is followed by the time of things.
Notes
CHAPTER 1
NOTE: This essay appeared in French as "Une Pensee finie," in Jean-Luc Nancy,
Une Pemeejinie (Paris: Galilee, 1990), 9-53.
I. Friedrich Nietzsche, Dieftohliche WissemchaJt, in Kritische Studienausgabe,

ed. Giorgio Colli and Mazzino Montinari (Berlin: Walter de Gruyter, 1988), 3:
§357. Henceforth cited as KSA, followed by volume and page number. Translated
by Josefine Nauckhoff as The Gay Science (Cambridge: Cambridge University
Press, 2001).
2. Martin Heidegger, "Davoser Disputation zwischen Ernst Cassirer und Mar
tin Heidegger," in Kant und das Problem tier Metaphysik, Gesamtausgabe 3 (Frank
furt a. M.: Vittorio Klostermann, 1992), 295-96; translated by Richard Taft as
Kant and the Problem ofMetaphysics (Bloomington:. Indiana University Press,
1990), 185. Henceforth cited as KPM, followed by page numbers of the German
and English versions. .
3. I should like to reproduce here some lines previously published in Lettre in
ternationale 24 (spring 1990), in response to the events of that year in Europe.
They were originally entitled "To be continued"-and I continue them here.
No one is taken in. This is not just a crisis, or even an end of "ideolo
gies." It is a generalized debacle of sense. "Sense" must be understood in all
its senses: the sense [direction] of history, the sense [feeling] of community,
the sense [direction] of peoples and nations, the sense [meaning] of exis
tence, the sense of any transcendence or immanence whatsoever. And that's
not all: it is not just the contents of sense, the meanings-all our mean
ings-that are now invalidated. Rather, a strange black hole is growing at
the very site· of the formation, birth, or donation of sense. It is as if, in the
dissolution of this originary power of making or receiving sense whose many
figures make up, along the way to ourselves, the history of the modern Sub
ject (the subject of philosophy, of politics, of history, of practice, of faith, of
communication, of art), a world, or worlds, or pieces ofworlds, were emerg-
320 Notes
ing; with no one there to receive, perceive, or conceive them as a "world."

The "West" can no longer receive the collapsing "East."
"Consciousness is always consciousness of something," being first of all
"consciousness of self": that was our thinking in shorthand form, but now
appear things that proliferate without being the objects of any conscious
ness, as there appear wandering "selves" with no conscious relation to them
selves. "Every action aims toward the shared dwelling-place of a kingdom of
freedom": such were our maxims, in shorthand form. But now each word of
the formula bears the burden of an irreparable disaster.
No one is taken in. In the event, the best witnesses are those who seize
grossly upon the situation to bring out their intellectual merchandise, which
really is nothing but merchandise, with an expiration date long past: "liber
alism," "humanism," "dialogue," "investing in people," "open socialism,"
"democracy" are words that even their users pronounce only with prudence,
in a minor key, anxious not to lose the last pale vestiges of sense that cling
to them. To be sure, the enthusiasm of those who were able to swing a
pickax at the Berlin Wall is understandable and broadly shared. And like
wise for . those who threw out Marcos, and now Ceaucescu, and those who
. marched in the streets of Pretoria. But everyone also, without saying so out
loud, understands and shares the discretion that follows such moments.
Discretion is advised, or else no one admits the right, or the power, of being
indiscreet.
Being indiscreet would mean only one thing: raising the problem of
sense, or, if it is better to use a more classical, more sharply etched language,
the problem of aims---:of ends, of finality in general. Finality is the one
topic on which the "beautiful souls" of neo-liberalism, neo-democracy, neo
aestheticism or neo-ethics are most discreet. To be sure, they speak endlessly
in terms of "goals" (of "horizons," of "futures"); since such is the ord\nary
and obligatory diet of our thinking (and a sort of shorthand for it). But
everyone is careful to avoid saying this: that all our finalities are intrinsic;illy
related to patterns of transcendence or immanence of sense that now, dis
creetly, go unmentioned.
Capitulation or avoidance are the responses to this fact: that the question
';;" of ends is henceforth completely in play, eXhibited unreservedly before us,
and not only, nor even primarily, in the form of the question "Which ends?"
but as the question of the very idea of an "end." A fair share of contempo
rary intelligence is stubbornly dedicated to this deceptive maneuver.
Not that the que�tion has failed to be raised. The exact history of thirty
years of thinking has yet to be written. But the neo-liberal, neo-socialist
consensus obstinately turns away from the task . . . (to be continued).
4. KPM 236 / 161. The immediate context of this phrase doesn't do it justice.
Heidegger seems here to remain caught in a relativistic conception of "finite think
ing," which would remain simply one "possibility" among many, unable to claim
Notes 321
any knowledge of finitude's �'truth in itsel£" This requires clarification, at the very
least. We don't know finitude "in itself." However, this isn't the effect of perspec
tivism but because there is no finitude "in itself." It is with this that we need to
concern ourselves, and not the rhetoric of the modesty of thinking within which
Heidegger remains trapped.
5. Nietzsche, Hussed, Derricla's reading of Hussed, Marion's reading of
Hussed, Heidegger, and Deleuze are all presupposed here. This goes without say
ing, but "it's best to say it anyway.
6. Hegel, in the Aesthetics (of course), had already admired the double sense
of Sinn.
7. See "Elliptical Sense," below.
8. Martin Heidegger, Sein und Zeit (Tiibingen: Max Niemeyer, 1993), §31. I,
note in passing that, although this book defines the principle of a "deconstruction"
of sense, as the sense ofbeing, Heidegger still remains within a double regime, and
a classical one at that, of the presentation of sense: on the one hand, as "under
standing"; on the other, as "sensing" or "state-of-mind" (Bejindlichkeit). He repeats
that the two are indissociable, but the two remain two, and Heidegger doesn't ex
plicitly question this duality.
9. See Max Loreau, La Genese du phenomene (Paris: Minuit, 1989), 301: "There
is no being that is distinct from the sense of being."
10. Martin Heidegger, Beitrage zur Philosophie, Gesamtausgabe 65 (Frankfurt a.
M.: Vittorio Klostermann, 1989), 268-69.
H . Heidegger evokes the possibility of this in "What is Philosophy?" In this
sense, the difference between being and beings could not even be assigned as "dif
ference." Being which is (transitively) beings only differs from the latter insofar as
this very difference differs from a difference between "being" (intransitive) and be
ings. This last difference (which is most often taken to be the sense of the "ontico
ontological difference") differs, therefore, ftom itself: being does not occur as be
ing. This is what Jacques Derrida has sought to bring out with the
neither-word-nor-concept "differance." As he writes: "Finite difference is infinite"
'
(La Voix et lephenomene [Paris: Presses Universitaires de France, 1967], XXX; tr�s
lated by David Allison as Speech and Phenomena [Evanston: Northwestern Uni
versity Press, 1973]). "This sentence, I fear, is meaningless," he once said. Perhaps,
but it does make sense.
12. If we use the translation "for death," we introduce a finality that is wholly
foreign to the text. Alternatively, the "for," the zum, better translated as toward or
to, has to be reinterpreted. In any case, death needs to be thought here independ
ently of all sacrificial logic, a task that would also require a critique and a decon
struction of this motif in Heidegger himself. See "The Unsacrificeable," below.
13. KPM 225-6 / 154. What follows takes the whole of §41 as its point of de
parture. [Each of the citations in what follows come from § 41.-Trans.]
14. And if, as a: consequence, existence ("ek-sistence") ought not to be extended,
albeit in modal form, but understood more broadly as simply human. This is a dif-
322 Notes
ficult question-one I have already broached in L'Exptrience de la liberte (Paris:

Galilee, 1988); translated by Bridget McDonald as The Experience of Freedom
(Stanford: Stanford University Press, 1993)-and one that Heidegger himself
didn't foresee. It is basically the question of the existence ofthe world. Not simply
as the question What is the sense of (human) existence? but also, if the world is in
separable from it, if it isn't the contingent context of an existentiality but the very
site of it, Why is there the world, in its totality? Not simply Why is there some
thing? in general, but also Why is there what there is, all ofwhat there is, and noth
ingbut what there is? And so, too, Why the proliferating difference among beings,
men, animals, vegetables, minerals, galaxies, and meteorites? In this regard, it
must be said that it is difficult to reduce "the stone in the stone" to a "pure" im
manence; "immanence/' in other words, is also and in a way ,"to itself." The stone
isn't an essence (otherwise how could its hardness feel hard?), an essence for the
understanding alone. (On the stone, see Spinoza, Ethics 2, proposition 13,
scholium). But in order to understand, or to touch, the minute, heavy, almost in
existent modality of stone's existence, we must doubtless turn to literature. In John
Updike's The Witches ofEastwick (Harmondsworth, Middlesex: Penguin, 1985),
199, we read this, for example: "How magnificent and abysmal pebbles are! They
lie all around us billions ofyears old, not only rounded smooth by centuries of the
sea's tumbling but by their very matter churned and remixed by the rising of
mountains and their chronic erosion, not once but often in the vast receding cone
of aeons." Here, the existence of stones (reduced, I grant, to lying all around and
to the churning of their matter) isn't their relation to a subjectivity; rather, it's pre
cisely the opposite: in writing, a subjectivity reaches out to touch, as ifwith its fin
gertips, that without which there would be nothing to write, which remains out
side, which is the world, and which, though, it's true, only presents itself as
"existing" in this same gesture ofwriting. "There is" doesn't belong to the order of
having. On being addressed in terms of having, see Alain Badiou's remarks on
Gilles Deleuze's Pli, Annuaire philosophique (Paris: Seuil, 1989), 170. The verb "to
have" slips from appropriation to being through the instantaneous diffraction, dis
location, and dissemination of the "having" of "being": it has no essence, all there
is is being in �' "there" that neither pre-exists it nor is external to it. All it "has" is
the "there" of being, the "there" of every "there is." "There" doesn't exactly take up
either having or being, just as it's not exactly spatial or temporal. (See my "Le
Cceur des choses," in Une Penseejinie [Paris: GaliIee, 1990] , 197-224; translated by
Brim Holmes and Rodney Trumble as "The Heart of Things," in Jean-Luc
Nancy, The Birth to Presence [Stanford: Stanford University Press, 1993], 167-88.)
Let us say: it t�es up the event. The question, though, is: Whence the event of the
world? Where does the world-event, in the singular dissemination of its events
(which it doesn't have, but which it is, being only that), come from? From the
stone? From the eruption of being that comprises being, from the eruption of be
ing that is being. In these conditions, there are only events (essences and facts are
for the understanding), and every event has the structure of the world-event. Or
Notes 323
rather, all events are substitutable, and all are singularities. Not. indifferent, but . .
substitutable, as singularities, as the absolute, each time, of a-singular. And how
could there be sense if an event did not communicate (with) all events? But how
could sense not be finite if this communication itself did not take place as a trans
mission of having (of qualities, of properties), but only as this universal substi
tutability of the "world-event"? The latter comes therefore from this-which is to
say, it comes from nowhere and no one; neither from atoms nor from God.
Equally, though, neither atoms (with the clinamen) ·nor God (the creator, not the
supreme being, if they can be distinguished) have doubtless ever truly been
thought otherwise than as the eventuality of the world without an assignable or
unifiable origin. '�tom" or "God" have been the infinitizing goals of the thought
of finite sense. The provenance of the world lies neither in a thoughtfulness, nor
in providence. The world comes from its event. It exists therefore right through
even though existence is not homogeneous in itself, of man, of the stone, or of the
fish. There is only sense in touching that. But in touching that, there is only finite
sense.
15; Here, we would need to go back to the whole argument of The Experience
ofFreedom, the displacement of the concept of freedom as the self-legislation of an
infinite Subject into that of the expositioJ.? of a finite being.
16. See my "Posseder la verite clans une ame et un corps," in Une Penseefinie,
325-51; translated by Rodney Trumble as "To PossessTruth in One Soul and One
Body," in The Birth to Presence, 284-306. As for Marx, and for those who find
themselves astonished to see a thinking of finitude attributed to him, let me say
that for Marx this is connected with his constant and decisive appeal to the "real,"
in particular to its materiality, to the ineffectiveness of all generality, and .even to
the contingent character of nature and. history. That man remains, for Marx,
generic man doesn't stop the beginning of the decomposition of the essence of
man, in history and in freedom.
17. Here, though, I'm not really thinking about Rimbaud, but about Nietzsche
and Bataille.
18. In speaking of access, I am, of course; thinking about Bataille-and about
a different reference from the preceding one. Whatever else may need to be said,
it's with Bataille that this demand emerges in all its nakedness.
19. See my '�I..:Histoire finie," in Jean-Luc Nancy, La Communaute desoeuvree
(Paris: Bourgois, 1990), 237-78; first published in English as "Finite History," in
The States of"Theory'': History, Art, and Critical Discourse, ed. David Carroll (New
York: Columbia University Press, 1990), 149-72; reprinted in The Birth to Presence,
143-66.
20. See "The Kategorein of Excess," below.-Ed.
21. See The Experience ofFreedom, chap. I2.-Ed.
22. And so, too, without going down the path of sacrifice. Misfortune and
sickness can call, in different ways, on sacrifice: we no longer can. See "The Un
sacrificeable," below.
324 Notes
23. Rereading Spinoza, therefore. But also Plato. The "Good," situated
epekeina tes ousias, "beyond being or beyond essence," isn't the good of a moral
norm. Rather, it is reason and the end of all things: the beginning of every thought
of the end.
24. Here one might refer to Jean-Frans:ois Lyotard's analyses of the time that
capital "does not leave untouched" (in L'Inhuman: Causeries sur le temps [Paris:
Galilee, 1989], translated by Geoffrey Bennington and Rachel Bowlby as The In
human: Reflections on Time [Stanford: Stanford University Press, 1991]) and those
of Andre Gorz in his several publications on the reduction of the workday. For the
replacement of generic "man" by "singuIarities," see Etienne Balibar, La Proposition
de l'egaliberte (Conferences du Perroquet, 1989).
25. Laziness and cowardice, once again. For a survey of the state of the
problem, see Pascal Dumontier, Les Situationnistes et mai 68 (Paris: Gerard
Lebovici, 1990). He speaks advisedly of a "concerted silence around the topic of
May '68" (13).
26. A critique carried on and then diverted or turned back by Baudrillard, who
embodies, in a sense, the limits of a critique of "simulation," itself still a tributary
of representation.
27. This is the sole question raised by the ·"end of art"-and so, toO, by the
birth of something else, for which the name "art" is perhaps no longer suited. I've
dealt with this in "Portrait de l'art en jeune fille," in Le Poids d'unepensee
. (Greno-
ble: Presses Universitaires de Gtenoble, 1991).
28. I'm borrowing the word "mimesis" from Philippe Lacoue-Labarthe, at
tempting to sum up the movement of his thinking of this concept. Moreover, I
would like, and it would be useful, to demonstrate the convergence, albeit distant,
of this thinking with Gilles Deleuze's thoughts about an "image" that owes noth
ing to representation.
29. From which it follows that the Greek phusis, with its complex relation to
techne, a relation that renders the two indistinguishable, isn't "nature" in this sense.
This is one of Heidegger's central theses, although he was unable to draw out its
full consequences and instead allowed phusis to assume once again the guise of a
kind of original immanence. The reactive part of his thinking about "technology"
is entirely of a piece with this (although it's perhaps worth adding that Heidegger
wasn't confronted by the kinds of technology we know today). On the ambiguity
of Heidegger's theses about technology, see Avital Ronell, The Telephone Book
(Lincoln: University of Nebraska Press, 1989).
30. Here we can most clearly see the error in Heidegger's conflation of the
camps with the "agricultural food industry" in a single, blanket condemnation of
"technology."
31. "Un-worked" (des-oJUvree) in Blanchot's sense, needless to say, and thus in
a necessary relation with an "unworked community." Beyond this, there would
also be a good deal to say about such an un-working in the sciences, that is, in what
should less and less be confused with the metaphysical aim of Science, with a cap
ital "S," as the completion of sense, something that it's increasingly hard to distin
guish from technologies.
Notes 325
32. Contrary, of course, to what Hegel sought not to do, and not without a
struggle. See my "Le Rire, la presence," in Une Penseefinie, 297-324; translated by
Emily McVarish as "Laughter, Presence," in The Birth to Presence, 368-92.
CHAPTER 2
NOTE: This text was written for the conference

"Sartre and Bataille," organized
c
by Ja queline Risset, held in Rome in the autumn of 1996. It was published in
book form in French in Jean-Luc Nancy, La Pensee derobee (Paris: Galilee, 1999).
I. Jean-Paul Same, Cahiers pour une morale (Paris: Gallimard, 1983), 499;
translated by David Pellauer as Notebooks for an Ethics (Chicago: University of
Chicago Press, 1992), 483.
2. Sartre, Write et existence (Paris: Gallimard, 1989), 66-67.
3. Georges Bataille, Sur Nietzsche, in Oeuvres completes (Paris: Gallimard, 1973),
6: 197. All references to Bataille are to this edition, henceforth cited as QC, fol
lowed by volume and page number.
4. QC 12: 459.
5. QC 6: 260.
6. QC 6: 312.
7. QC 6: 318.
8. See Heidegger, Beitrage zur Philosophie (vom Ereignis), in Gesamtausgabe 65
(Frankfurt a. M.: Vittorio Klostermann, 1989).
9. QC 12: 287; see also QC 12: 316, where Bataille speaks of "laying bare the
flip side of thinking."
10. QC 12: 394.
H. QC 12: 316.
12. For Sartre, see, in particular, Write et existence.

13. Sartre, Critique de la raison dialectique (Paris: Gallimard, 1960), 107; trans
lated by Hazel E. Barnes as The Problem o/Method (London: Alfred Knopf, 1963),
174. The phrase "not-knowing" also crops up in the posthumous Write et existence
and Notebooks for an Ethics.
CHAPTER 3
NOTE: This essay appeared in French in Jean-Luc Nancy, Une Penseefinie (Paris:
Galilee, 1990), 65-106.
1� Diogenes Laerti'us, Lives and Opinions o/Eminent Philosophers, trans. R. D.

Hicks, Loeb Classical Library (London: Heinemann, 1942), I: 24-25.
2. Georges Bataille, "La Limite de l'utile," in Oeuvres completes (Paris: Galli
mard, 1972), 7: 280. All references to Bataille are to this edition, henceforth cited
as QC, followed by volume and page number.
326 Notes
3. G, W. F. Hegel, Hegel's Philosophy ofMind, trans. W. Wallace and A. V.

Miller (Oxford: Oxford University Press, 1971) §392.
4. Marcel Detienne and Jean-Pierre Vernant, La Cuisine du sacrifice enpays grec
(Paris: Gallimard, 1979), 34 (text by Detienne) and 134 (text by J.-L. Durand);
translated by Paula Wissing as The Cuisine ofSacrifice among the Greeks (Chicago:
University of Chicago' Press, 1989), 20, 88. Furthermore, both authors insist upon
the role of "globalized Christianity" (Detienne) in the "arbitrary" construction of
the ethno-anthropo-Iogical notion of sacrifice. They're certainly not wrong to do ·
so, providing that we don't forget that "Christianity" (if not the faith of Christians)
is what it is only within the. doubl� philosophical dialectization from which it
evolves and to which it submits. In addition, we shouldn't forget that it is philos
ophy t;p.at, by elaborating the idea of sacrifice, seals off access to what I shall call
here, for want of a better term, "early sacrifice." When anthropological inquiry
comes up against a diversity ofsacrificial forms that is impossible to unify, it is per
haps subject, in turn, in inverted fashion, to this enclosure. And yet it is hard not
to think that there is a real unity to this early sacrifice, albeit one to which we have
no real means of access.
5. Georges Gusdorf, L'Exptrience humaine du sacrifice (Paris: Presses Universi-
taires de France, 1948), viii.
6. OC II: 484.
7. OC 7: 264.
8. OC 7: 538.
9. Plato, Phaedo, II4C.
10. Ibid., 1qC.
u . Paul's Epistle to the Philippians, 2: 6-8.
.
12. Augustine, The City ofGod, cited in E. Mersch, Le Corps mystique du Christ
(Paris: DescIee, 1951), 2: II4. The reference supplied at this point is imprecise.
13. Friedrich Nietzsche, �rke, ed. Karl Schlechta (Munich: Hanser, 1956), 3:
803. The citation in question is from the Nachlass, the unpublished writings.
14. Paul's Epistle to the Hebrews, 10: II-14.
15. Cited in Mersch, Le Corps mystique du Christ, 2: 6ff.
16. Hegel, Hegel's Philosophy ofMind, §546.
i7. Plato, Laws, 909d et sec. .
18. OC 7: 253.
19. Plato, Phaedo, u8.
20. Ibid., 91b-c.
21. Pascal, Pensees (Paris: Gallimard-PIeiade, 1978), §268, 569; translated by A.
Krailsheimer as Pensees (Harmondsworth, Middlesex: Penguin, 1966), §268, 109.
22. Hegel, Lectures on the Philosophy ofReligion, ed. P. C. Hodgson, trans. R. F.
Brown, P. C. Hodgson, and J. M. Steward (Berkeley: University of California
Press, 1984), I: 354 n. 178.
23. G. W. F. Hegel, Phenomenology ofSpirit, rrans. A. V. Miller (Oxford: Ox
ford University Press, 1977), §779. The context of the remark concerns Christ.
Notes 327
24· OC 7: 255·
25. Friedrich Nietzsche, Morgenrote, in Kritische Studienausgabe, ed. Giorgio
Colli and Mazzino Montinari (Berlin: Walter de Gruyter, 1988), vo!. 3, bk. 2, §
146; translated by R. J. Hollingdale as Daybreak (Cambridge: Cambridge Univer
sity Press, 1982), 146..
26. Nietzsche, Ecce Homo, KSA 6; translated by R. J. Hollingdale as Ecce Homo
(Harmondsworth, Middlesex: Penguin, 1989), 129-30.
27. Karl Marx, "Critique of Hegel's Doctrine of Right," in Early Writings,
trans. and ed. Lucio Colletti (Harmondsworth, Middlesex: Penguin, 1974), 104.
28. See Thomas Aquinas, Summa theologiae, IlIa, quo 22 2 c, then IIa-IIae, quo
85 3 ad 2.
29. Cited in Gusdorf, L'Experience humaine du sacrifice, 45.
. 30. See Les Carnets de Lucien Levy-Bruhl (Paris: Presses Universitaires de
France, 1949). Generally speaking, the relation between mimesis and sacrifice re
quires an examination that I cannot undertak� here. If mimesis is an appropriation
of the other through the alteration or suppression of the proper, wouldn't it have a
structure equivalent to that of sacrifice? (See, e.g., "etre personne-ou tout le
monde" ("to be no one-or everyone"), in Philippe Lacoue-Labarthe's analysis of
Diderot's Paradox, "Diderot: Paradox et mimesis," in 1jpographies. JL' L1initation
des modemes (Paris: Galilee, 1986), 35; translated as "Diderot: Paradox and Mime
sis," in Lacoue-Labarthe, 1jpography: Mimesis, Philosophy, Politics, ed. Christopher
Fynsk (Cambridge: Harvard University Press, 1989), 259. As regards the links be
tween sacrifice and mimesis, see also, e.g., Jacques Derrida, "La Pharmacie de Pla
ton," in La Dissemination (Paris: SeuiI, 1972), 152-53; translated by Barbara John
son as "Plato's Pharmacy," in Dissemination (Chicago: University ofChicago Press,
1979). Should we look for a priority in this equivalence? Should we found sacrifice
on mimesis, found it, for example, on an anthropology of mimetic violence and
rivalry (along the lines proposed by Girard) that turns sacrifice into a symboliza
tion after the fact and that appeals to a "revelation" in order to suspend its vio�
lence? (In which case; and however subtle the analyses may be, the so-called posi
tive characteristic of such an anthropological "knowledge" would admittedly be as
foreign to me as that other kind of "positivity" associated with the motif of "reve
lation.") Conversely, why shouldn't we grasp mimesis on the basis of a methexis, a
communication or contagion that, outside the West, has perhaps never had the
meaning of a communion, which we have tended to give it? What escapes us, and
what "Western sacrifice" at once misses and sublates, is an essential discontinuity
of methexis, an in-communication of every community. (See, e.g., Bataille on con
tagion, OC 7: 369-71.)
31. See Philippe Lacoue-Labarthe, 1jpographies, 42: "Is mimesis sublatable?"
The question is perhaps no different from the following: Is methexis communal?
It is perhaps in the theologico-philosophicaI construction of the doctrine of
Christian double hypostasis, insofar as this is also the very site of sacrifice and of
328 Notes
all possible communion, that such questions w�uld find their most telling docu
mentation.
32. OC II: 55.
33. Heidegger, Holzwege, Gesamtausgabe 5 (Frankfurt a. M.: Vittorio Kloster
mann, 1987), 50; "Th� Origin of the Work of Art," in Basic Writings, ed. David
Farrell Krell (London: Routledge, 1993), 187. The theme of sacrifice returns many
times in Heidegger. A critical analysis of this theme would require a separate study.
Arnold Hartmann and Alexander Garcia-Diittmann will one day provide it.
34. Immanuel Kant, Kritik der Urteilskraft, in G�sammelte Schriften, ed.
Koniglich PreuBischen Akademie der Wissenschaften ( Berlin: Walter de Gruyter,
1902-), 5: 271, 252.
35. Novalis, Heinrich von Ofterdingen, in Schriften, ed. P. Kluckhohn and R.
Samuel (Stuttgart: W. Kohlhamner, 1960), 1: 337.
-36. OC 5: 156. See also, e.g., the remarks of L'Erotisme (Paris: Minuit, 1957), 98:
"In actual fact, literature is situated in succession to religion . . . Sacrifice is a novel,
it is a tale, illustrated in a gory fashion," etc. There's no need to underline the fact
that questions ofsacrifice and of myth have to be closely linked. .
37. OC II: 485.
38. Ibid.
39. Ibid.
40. F. W. J. Schelling, Siimmtliche Wi?rke, ed. K. F. A. Schelling (Stuttgart:
Cotta, 1865-61) 453. .
41. OC :II: 485.
42. Ibid.
43. OC II: 486.
44. OC n: 103.
45. ' OC 8: 300.
46. OC n: 262-67. [Subsequent quotes in the text are from this article.
Trans.] For want of space, I am leaving to one side the "Sartre" article on the Jews
and the camps (OC n: 226-28). The conclusions of these articles would converge:
BataiIle, without saying so directly, tends to view the Jews as the victims of a sac
rificial immolation of "reason." For another example, see OC 7: 376-79. See also
Jacques Lacan, Stfminaire XI (Paris: Seuil, 1977), 247, and Philippe Lacoue
Labarthe, La Fiction du politique (Paris: Bourgous, 1989); translated by Chris
Turner as Heidegger, Art, Politics (Oxford: Blackwell, 1991), who respectively affirm
and deny the sacrificial character of the camps, and Jacques Derrida, who, in the
midst of commenting on sacrifice as orality and on philosophies that "do not sac
rifice sacrifice," appears to affirm such a character; see Derrida, Shibboleth (Paris:
GaliIee, 1986), 83-85.
47. OC 7: 376-79. It is worth pointing out that a comparable discussion has
taken place on the subject of the sacrificial character of revolutionary regicide; see
Myriam Revault d'Allones, Dune mort a l'autre (Paris: Seuil, 1989), 59. There are
obviously considerable differences between such discussions. I merely want to sug-
Notes 329
gest that, under the rule ofWestern sacrifice, sacrifice started to decay a long tim�
ago.
48. Adolf Hitler, Mein Kampf(Munich, 1936), 326.
49. Ibid., 329.
50. Ibid., 330.
51. Himmler's speech of October 4, 1943, cited in Raul Hilberg, The Destruc
tion ofthe European Jews (London: Holmes & Meier, 1985), 3: 1009-10.
52. OC n: 101.
53. Hermann Broch, The Death of Virgil, trans. J. Starr Untermeyer (Har
mondsworth, Middlesex: Penguin, 2000), 172.
54. On technology, techne, art, and the work in Nazism and/or"in Heidegger's
thinking, see Lacoue-Labarthe; Heidegger, Art, Politics.
55. See, in particular, Martin Heidegger, "Die Kehre," in 10rtrage undAufiatze
(Pfullingen: Gunter Neske, 1954), 37-47; translated by Williarn Lovitt as "The
Turning," in Heidegger, The Question Concerning Technology (New York: Harper
& Row, 1977), 36-49..
56. I agree with Jean-Fran�ois Lyotard on this point; see Lyotard, Heidegger et
les juifi" (Paris: Galilee, 1988), 140; translated by Andreas Michael and Mark
Roberts as Heidegger and "thejews" (Minneapolis: University of Minnesota Press,
1990). For me, though, his argument as a whole calls for this reservation at least:
Heidegger's intended gesture here doesn't simply invalidate the thought of Ereig
nis, to which Lyotard himself, paradoxically, becomes intensely attached.
57. Lacan, Le Seminaire Xl, 247. Here, Lacan explicitly derives this definition
from the existence of the camps.
58. Martin Heidegger, Sein und Zeit (Tiibingen: Max Niemeyer, 1992), 42.
59. See Martin Heidegger, "Zeit und Sein," in Zur Sache des Denkens (Tiibin
gen: Max Niemeyer, 1969); translated by Joan Starnbaugh as "Time and Being," in .
Heidegger, On Time and Being (San Francisco: Harper & Row, 1984).
60. See The Experience ofFreedom. The theme of sacrifice was already touched
upon in this book, just as it was invoked in my "Soleil cou coupe," in Le Demon
.
des anges (Barcelona: Departarnent de Cultura, 1989).
61. Rereading these pages while editing them for their French publication as a
book (August I, 1990), I want to add the following: yesterday, between four hun
dred and six hundred people were massacred in a church in Monrovia, where they
were taking refuge from the fighting and executions of the civil war that is tearing
Liberia apart. Among them, there were many women, children, and infants. The
newspaper explains that eviscerated bodies of t\yo young children were thrown
onto the altar. I'm not passing judgment on this war, or even on this particular
episode. I'm insufficiently informed to do so. I simply want .to note the crushing
weight of this configuration of signs: in Africa, upon a Christian altar, a parody of
sacrifice-yet less than a parody, more a slaughter unsupported by any sacrifice.
i
I:
f·
330 Notes
CHAPTER 4
NOTE: This text appeared in French in Cahiers Intersignes, nos. 4-5 (Paris, au
tumn 1992): 237-49.
NOTE: While writing these pages, I'd forgotten that one of the texts included by
Blanchot in The Infinite Conversation carries the same title: "I.:Indestructible."
This was no doubt both an unconscious memory and a dialogue.
I. In English in the text.-Trans.

2. Franco Marinetti, Selected Writings, trans. R. W. Flint and Arthur A. Cop
poteIli (New York: Farrar, Strauss and Giroux, 1972), 42.
3 . Hallaj a1-Husayn Ibn Mansur, Dtwan. I am citing here from the translation
by 1.-. Massignon printed in the Cahiers du SUd (1955), 104. I admit that I've altered
the text somewhat, aggravating Hallaj's heresy still further by erasing the "Him" to
whom the text is actually addressed.
CHAPTER 5
NOTE: This text merits a place in this collection on account of its themes, par
ticularly the theme of sense. Nevertheless, it has a special status, for two reasons.
First, it was wdtten for inclusion in a festschrift for Jacques Derrida and so belongs
to a genre that is not really appropriate here. In recognition of this, I have removed
the preamble, which was devoted entirely to this "address." [The preamble is in
cluded in an earlier translation of this text by Peter Connor, in Derrida: A Critical
Reader, ed. David Wood (Oxford: BlackweIl, 1992), 36-5I.-Trans.} Second, the
original circumstances in which the piece was composed-a symposium at the
Collegium Phenomenologicum directed by Rodolphe Gasche in 1987-dictated
that I speak about a particular text by Derrida. I chose "Ellipsis," the concluding
essay of L'Ecriture et la dwrance (Paris: Seuil, 1967) , 429-36; translated by Alan
Bass as "Ellipsis," in Derrida, Writing and Difference (Chicago: University of
Chicago Press, 1978), 295-300. This implies a reading of that text throughout this
essay. The essay in French can be found in Jean-Luc Nancy, Une Penseefinie (Paris:
Galilee, 1990), 269-96.
I. See, too, the opening pages of Nancy's Le Poids d'une pensee (Grenoble:
Presses Universitaires de Grenoble, 1991)-Ed.
2. Jacques Derrida, De la grammatologie (Paris: Minuit, 1967), 18; translated by
Gayatri Chakravorty Spivak as OfGrammatology (Baltimore: The Johns Hopkins
University Press, 1976), 23.
3. See Jacques Derrida, Marges de la philosophie (Paris: Minuit, 1972); trans
lated by Alan Bass as Margins ofPhilosophy (Chicago: University of Chicago Press,
1982L 330.
Notes 331
CHAPTER 6
NOTE: This essay originally appeared in Jean-Luc Nancy, La Pensee derobee

(Paris: Galilee, 1999) .
I. Everything that follows speaks, according to the rules of the game, of Der
rida, from Derrida, or alongside him or his r:euvre. I will keep textual references to
a minimum; there would either have been too many or too few, and my concern
here isn't a philological one. I'm searching for the extremity at which a thought be
gins or exhausts itself, at which its subject is stripped bare.
2. The expression appears in Jacques Derrida, L'Ecriture et la diffirence (Paris:
Seuil, 1967), 364; translated by Alan Bass as Writing and Difference (Chicago: Uni
versity of Chicago Press, 1978), 247. On the intestine, the brain, and the tympa
num, see Marges de la philosophie (Paris: Minuit, 1972), i-iv; translated by Alan
Bass as Margins ofPhilosophy (Chicago: University of Chicago Press, 1982), x-xv.
3. See "Circonfession," in Geoffrey Bennington and Jacques Derrida, Jacques
Derrida (Paris: Seuil, 1991), 275; translated by Geoffrey Bennington as "Circum
fession," in Bennington and Derrida, Jacques Derrida (Chicago: University of
Chicago Press, 1993), 298: "the question of me, with respect to which all other
questions appear derived."
4. It would be pointless to try to provide references. There are hundreds of
them, unevenly distributed across texts and perhaps even across periods. More
over, the two uses of "such," the "normal" and the "retro," often occur almost side
by side. See, e.g., Partrges (Paris: Galilee, 1986), 14.
5. Denida, Glas, 7-as for the rest, I must pass it by; I' forget it. But everybody
knows what it concerns.
6. It is worth noting that although here Nancy credits Derrida with having
raised the specter of "haunting," the term was actually part of Nancy's vocabulary
long before it waS adopted by Derrida. See "The Kategorein of Excess," below.-Ed.
7. These last two terms are employed and discussed by Philippe Lacoue
Labarthe in Le Sujet de la philosophie (Paris: Aubier-Flammarion, . 1979), 221ft: His
theme finds certain echoes here.
8. Glas (Paris: GaliIee, 1974), 79-80; translated by John P. Leavey, Jr., as Glas
(Lincoln: University of Nebraska Press, 1990) ' 67-68.
9. See a bit further on in Glas: "everything is always attached from behind [de
dos] , written, described from behind [par derriere] . . . . Absolutely behind, the Der
riere that will never have been seen face on, the Deja preceded by nothing" (97 / 84).
10. La Carte postale: De Socrate a Freud et au-dela (Paris: Flammarion, 1980),
86; translated by Alan Bass as The Post Card: From Socrates to Freud and Beyond
(Chicago: University of Chicago Press, 1987), 78: the da countingfor nothing with
regard to the do or the dos, "as if behind the curtains," still.
H. Martin Heidegger, Sein und Zeit (Tilbingen: Max Neimeyer, 1993), 132.
'
12. See also "My signature . . . cut offbefore the da" (Jacques Derrida, La Write
.- , ,: .
332 Notes
en peinture [Paris: Flammarion, 1978], 181; translated by Geoffrey Bennington

and Ian McLeod as The Truth in Painting [Chicago: University of Chicago Press,
-
1987] , 158).
13. "And philosophy is perhaps the reassurance given against the anguish of be
ing mad at the point ofgreatest proximity to madness" (Derrida, Writing and Dif
ference, 92 / 59).
14. I can't attempt to locate all occurrences; I 'll .rest content with a hasty
overview, ocular and erratic, which does, after all, constitute a test of pertinence.
It might be informative to take the time to . screen through the whole corpus,
which would not leave less intact the game of a calculus that is proper or absent
minded, unconscious, or surconscious, of Jacques Derrida around his texts and
their behinds.
15. Derrida, The Post Card, 44, 171 / 38, 158. One might add a caption in small
caps without punctuation: "PLATO BEHIND FREUD" (422).
16. Jacques Derrida, "En cet moment meme dans cet ouvrage me voici," in
Derrida, Psyche: Inventions de l'autre (Paris: Galilee, 1987), 161; translated by Ruben
Berezdivin as '�t This Very Moment in This Work Here I Am," in Re-Reading
Levinas, ed. Robert Bernasconi and Simon Critchley (Bloomington: Indiana Uni- .
versity Press, 1991), 13.

I7. An allusion to Max Stirner, Der Einzige und sein Eigentum (Leipzig, O.
Wigard, 1882); translated by Steven T. Byington as The Ego and His Own: The Case
ofthe Individual againstAuthority (London: A. C. Fifield, 1913)-Trans.
18. Jacques Derrida, "Moi-Ia psychanalyse," Psyche, 154; translated by
Richard Klein as "Me-Psychoanalysis: An Introduction to the Translation of
'The Shell and the Kernel,' by Nicolas Abraham," diacritics (March 1979), 10.
19. See Derrida, "Donner la mort,!' in L'Ethique du don, ed. Jean-Michel Ra
bate and Michael Wetzel .(Paris: Metailie, 1992), 59ff.
20. See Derrida, Psych!, 626-38.
21. The Post Card, 125 / II4.
CHAPTER 7
NOTE: This essay appeared in French in Jean-Luc Nancy, L'Imperatifcategorique

(Paris: Flammarion, 1983), 7-32.
I. Sylvia Plath, "Channel Crossing," in The Collected Poems (London: Faber

and Faber, 1981), 27.
2. The essay form allows me to examine this topic only in broad terms here.
I hope to develop it further in a forthcoming work, L'Experience de la liberte
(Paris: Galilee, 1988); translated by Bridget McDonald as The Experience ofFree
dom (Stanford: Stanford University Press, 1993). [This footnote was written by
Nancy in 1983, some five years before to the publication of the book to which he
refers.-Ed.]
Notes 333
3. Here I am developing one aspect of the program of Kant analysis begun ten
tatively in Logodaedalus I: Le Discours de la syncope (Paris: GaliIee, 1976).
4. Immanuel Kant, Die Metaphysik der Sitten, in Gesammelte Schriften, ed.
Koniglich PreuBischen Akademie der Wissenschaften (Berlin: Walter de Gruyter,
1902-) '6: 316, §49. [Except in the case of the Nachlass, cited by fragment number,
and the Critique ofPure Reason, where we follow the standard A and B pagination,
all references to Kant are to this edition, henceforth cited as Ak, followed by vol
ume and page number.-Trans.]
5. Religion within the Limits ofMere Reason, Ak 6: 41-42.
6. Ibid., Ak 6: 35.
7. See my ''rEtre abandonn�," in L'ImpbatiJcategorique (Paris: Flammarion,
1983), 141-53; translated by Brian Holmes as '�bandoned Being," in Jean-Luc
Nancy, The Birth to Presence (Stanford: Stanford University Press, 1992), 36-47.
8. Except in the case of right itself, in the case of the production of legality or
of the "jurisprudence" without experience that inaugurates right; see "Lapsusju-
.
dicii," below.
9. Elias Canetti; Masse undMacht (Frankfurt am Main, 1980), 335; translated
by Carol Steward as Crowds and Power (London: Gollancz, 1962), 303.
10. By this we want to understand the particular nature of the "utterance." I
have addressed this in two texts: "La Verite imperative," in L'Imperatifcategorique,
89-II2, and "La Voix libre de l'homme," in L'ImpbatiJcategorique, n5-37; trans
lated by Richard Stamp as "The Free Voice of Man," in Retreating the Politica4 ed.
Simon Sparks (London: Routledge, 1996), 32-51. If the order takes place in lan
guage, the imperative perhaps lies beyond it, even when it is uttered, and even in
its very utterance and discursiveness. "Imperativity" and the address as such don't
happen without language, but they do arise from it. Or they arise from saying as
what is not said-from a tone and a gesture. .
n. Immanuel Kant, Opus posthumum, Ak 22: n8. Whether there is still love
without duty or whether there is no law in love are questions that; for the mo
ment, are entirely separate. ,
12. Kant, Nachlass, 8105, 1799.
13. Kant, ' Opus posthumum, Ak 22: 55.
14. Here I am borrowing a term used by Jean-Franc;:ois Lyotard in his analysis
of the prescriptive in "Logique de Levinas," in Textes pour Emmanuel Levinas
(Paris: Place, 1980), n3-69. I won't go into the convergences and divergences be
tween my own path and the one taken by Lyotard. Doubtless we would both need
to pursue them further.
15. Critique ofPractical Reason, Ak 5: 31.
16. It goes without saying that, quite apart from this similarity of position, the
imperative doesn't have the nature of either space or time. What it does do, how
ever, is maintain a quite complex relationship
. with them. This will have to be ex-
amined later.
17. Kant, Critique ofPure Reason, A 19; B 33.
' ;" ,
. . . .. ,
334 Notes
18. In the French text of this essay, Nancy refers to his essays collected under
the title L1mperatiJcategorique, but the comment might serve as a summation of
the essays gathered here under the heading "Judging."-Ed.
19. Kant, Religion, Ak 6: 46.
20. Ibid., 45.
21. Emmanuel Levirias, Totalite et injini (The Hague: Martinus Nijhoff. 1961),
173; translated by Alphonso Lingis as Totality and Injinity (Pittsburgh: Duquesne
University Press, 1969), 199.
22. At this point, Nietzsche, despite himself, confirms what Kant has to say.
See my "Notre probite," in L1mptfratiJcategorique, 63-86; translated by Peter Con
ner as '''Our Probity!' On Truth in the Moral Sense in Nietzsche," in Looking af
ter Nietzsche, ed. Laurence A. Rickels (Albany: State University ofNew York Press,
1990), 67-88.
23. In a manner that is no doubt analogous, Lacan, in "Kant avec Sade," Ecrits
(Paris: Seuil, 1966), 765-90, attempts to understand the law as the law that con
stitutes the subject, not as the subject of a will to pleasure, but as the instrument
of the pleasure of the other. The problem is that this reversal still maintains the
"other" in the position of a subject of pleasure. Now, pleasure is without a sub
ject-the least that we can say-such being, pel:haps, the law as well as what lays
down the law as the incommensurable injunction.
24. "The voice is recognized as coming from the other to the extent that we
.
cannot respond to it, not to the measure of what, of the other, comes from the
other. The very structure of the law dictates or obliges its transgression" (Jacques
Derrida, in the debate that followed the presentation of "La Voix libre de
l'homme," reproduced in Les Fins de l'homme, ed. Philippe Lacoue-Labarthe and
Jean-Luc Nancy [Paris: Galilee, 1981], 183; Philippe Lacoue-Labarthe and Jean-Luc
Nancy, Retreating the Political ed. Sinion Sparks [London: Routledge, 1997], 53).
To this, we would n�ed to attach the motif of the "madness of the law," brought
to light by Derrida in "La Loi du genre," in Parages (Paris: GaliIee, 1986), 249-87;
translated by Avital Ronell as "The Law of Genre," CriticalInquiry7, no. I (1980):
55-81.
25. Here, we are not so very far from the problematic of "sovereignty" in
Bataille. I have begun to address this issue in "The Unsacrificeable,"above.
26. Kant, Opus posthumum, Ak 22: 55.
27. Kant, "What Real Progress Has Metaphysics Made in Germany . . . ?" Ak
20: 294.
28. Kant, Religion, Ak 6: 49.
29. See Jean-Louis Bruch, La Philosophie religieuse de /(ant (Paris: Aubier,
1968), 269.
30. At some point, we will need to examine the relation with the aesthetic that
this motif involves (that is, with the articulation of the sublime over beauty), a re
lation in which the nonsubjective status of singularity is also at stake.
31. Kant, Opusposthumum, Ak 22: 122.
Notes 335
32. Apropos tragedy, let me draw attention to the connection with Philippe
Lacoue-Labarthe's analysis of its Holderlinian treatment in "La Cesure du specu
latif," in Tjpographies 11: L'Imitation des modernes: (Paris: GaliIee, 1986);-translated
by Robert Eisenhauer as "The Caesura of the Spectacle," in Tjpographies: Mimesis,
Philosophy, Politics, ed. Christopher Fynsk (Cambridge: Harvard University Press,
1989), 208-35. This connection is essential. As is the one to my oWn analysis of
Holderlin and Kant in "La Joie d'Hyperion," Les Etudes philosophiques 2 (1983):
177-94; translated by Christine Laennec and Michael Syrotinski as "Hyperion's
Joy," in Jean-Luc Nancy, The Birth to Presence (Stanford: Stanford University Press,
1993), 58-81.
33. The Kantian notion of end does not denote the completion of a program.
It is inaugural and without end. "So far as the concept of end is concerned, it is al
ways something that we have to bring about, and the concept of an ultimate end
needs to be seen as produced a priori by reason" (Ak 20: 294; "What Real
Progress?" 123).
34. Pierre Lachieze-Rey, L'Idealisme kantien (Paris: Vrin, 1950), 197.
35. Kant, Metaphysics ofMorals, Ak 6: 222. It will be necessary to examine else
where the relation.between this address of the law and the "call" which, for Hei
degger, constitutes conscience (Gewissen), insofar as this call "comes from me and
yet from beyond me and over me"; Heidegger, Sein und Zeit (Tiibingen: Max
. Niemeyer, 1993), 275; translated by John MacQuarrie and Edward Robinson as
Being and Time (New York: Harper & Row, 1962), 320. Certain important conse
quences follow from this, as I indicate in "The Free Voice of Man," consequences
that complicate the analysis of the "sublime voice. "
CHAPTER 8
NOTE: This essay appeared in French in Jean-Luc Nancy, L'Imperatifcategorique

(Paris: Flammarion, 1983), 33-60.
1. G. W. F. Hegel, Phanomenologie des Geistes, in WCrke, ed. E. Moldenhauer

and K. M. Michel (Frankfurt a. M.: Suhrkamp, 1970), 3: 356-57; translated by A.
V. Miller as Phenomenology of Spirit (Oxford: Oxford University Press, 1977),
291-93. [Although Nancy makes due reference to Hippolyte's celebrated transla
tion of 1939, he elides two distinct clauses in Hegel's text, reading "the loss of its
essence" for "the loss of its reality [Realitii�" and "its complete inessentiality [ Un
wesentlichkei�" ( WCrke, 3: 357).-Trans.]
2. Chicanneau, a character from .Racine, is a proverbial figure for litigious-
ness.-Trans.
3. This is where a long engagement with Heidegger-with the thinking that
most rigorously determines the Hellenism of philosophy as such-would no
doubt lead. Heidegger, in his climb toward the Greek language of philosophy,
needs to point out a number of displacements introduced by Latin translation. Let
336 Notes
me suggest, then, that any study of these displacements would need to avoid giv
ing them the simple form of a generalization or a deviation-a slippage, even
and instead recognize within the Latin "translation," regardless of the way in
which it transmits or relays the Greek, the character of an accident, of a collision
that redistributes entir�ly differently the whole semantic and conceptual apparatus
over which it also "passes." Were we to do so, we could dispense with the vrhole
motif of the accidental constitution of the essence of modern metaphysics. (There's
.no way of countering this through the empirical fact that, right up until the end
of the empire, what was calle� "philosophy" usually spoke in Greek. Either it
wasn't philosophy that was speaking, or Greece was already philosophically Latin.)
4. Georges Dumezil, Idees romaines (Paris: Gallimard, 1969), 41. We could
hardly do better than cite Dumezil's indispensable analysis. Except perhaps to add
a question about "juice" (as in the j uice of a fruit, etc.), to which, as a homonym
ofjUs, some philologues have lent an etymological synonymy (through the senses
of "binding" and "mixing") with the jus of right. Something that might well sup.,.
port the Hegelian thesis of right as dissolution.
5. This is the problem of origin-which, it should probably be said, doesn't re
ally belong to right or, if it does, does not do so at the point at which right refers
to philosophy the question of its own origin (as at the start of a treatise on right,
for example), but only at the point, with which we are concerned here, at which it
becomes philosophy. At this point something happens to the metaphysical question
of origin. For the moment, allow me simply to say that if the authority of the
judge (his imperium) is itself a case, one whose right would need to be articulated,
this <;ase isn't an exceptional one (precisely not, in fact). Right prevents any law of
exception, any privilegium; see, e.g., Jacques ElIul, " Sur l'artificialite du droit et la
droit d'exception," Archives de philosophie du droit IQ (1965). The status ofjudex
can be conferred, by right, on anyone whatsoever, a status whose investitur.e can
not be sheltered from the law. In this, the judge is already profoundly different
from the philosopher as well as from the poet, both of whom Plato terms natures.
6. Spinoza, Tractatus de intellectus emendatione, §36: "De recta methodo
cognoscendi" ("On the Improvement of the Understanding").
7. Right says; it doesn't execute. It never "produces" anything other than it
self-or other than the fiction of its identity in the permanent mobility of its ju
risprudence.
8. The totalitarianism of the modern State comes from Rome only through a
major shift of nature and not of degree; namely, the unlimiting of a procedure
whose strictly Latin figure is (by right . . . ) that of an incessant and multiple fix
ing of limits (juridical, cultural, ethnic, linguistic, etc.). Rome tried-within the
walls of its limer-to constitute the juridical unity of an internal network of lim
its, of boundaries and differences. Ultimately [a la limite] . . . we would have to
say that right sanctions or signs for the differential divisions, whereas the State,
having transformed procedure into (organic, historical) process, absorbs them.
9. See Duguip, Traite de droit constitutionnel (Paris, 192�), vol. 2, §28; and, for
Notes 337
a discussion of the notion �f "subjective right," M. Villey, 'Tldee du droit subjec

tif et les systemes juridiques romains," Revue d'histoire du droit franraises et
etranger, I946-47·
10. Here, the subject needs to be understood according to the metaphysical de
termination through which it is constructed, from the hypokeimenon to the sub
stance of the Cartesian subject. This would be different (the problem here is one of
translation . . . ) were we to give back to the subjectum the Latin values of being
subordinate, being-subjected, being-substituted, or being-supposed.
H. Hegel, Enzyklopiidie der philosophischen Wissenschaften, in WCrke, vol. · 7,
§I68; translated by William Wallace as Hegel's Logic (Oxford: Oxford University

Press, 1975).
12. This is how the Peripsyches characterizes nous theoretikos (vol. 3, 5, 430 a 15).
13. It is from here that we would need to date yet another division that cuts im
mediately into the very unity ofjudgment: in Kant, the division between judicium
and nasus, between what will later be called "judgment" and esprit in the specifi
cally "French" sense of the word,. a sense captured in English "wit," Spanish gusto,
and, later on, German Witz, is already at work. Esprit constantly eats away at the
rationality-':"'itself already merely analogical-ofjudgment. Over the course of the .
eighteenth century, this leads inexorably toward the question of the "aesthetic" in
the double sense of the term: aesthetics as the "science of sensibility" (cognitio in
ferior) and as the "science of the fine arts" (the science of taste). Under its double
form, aesthetics formulates what is perhaps the ultimate question of right: the right
ofwhat is by right without right. This is what Kant calls the claim to universality of
the judgment of taste, a motif that would have to be linked up with that of the
critica, which appeared long before its dialectical understanding as the science (or
art) of texts, of their establishment and evaluation: a discipline without any ab
solute criteria and always dependent on some "personal" judgment. This is also
Kant's way of giving this critique a philosophical status. On the history of Witz,
see "Menstruum universale," Alea 1 (1981); translated by Paula Moddel as "Men
struum universale," Sub-Stance 21 (1978); reprinte;d in Jean-Luc Nancy, The Birth
to Presence, trans. Briah Holmes and others (Stanford: Stanford University Press,
1993), 248-65.
14. Immanuel Kant, Kritik dei reinen Vemunft, ed. Jens Timmermann (Berlin:
Felix Meiner, 1999), A ix-x. All references to the Critique are to this text, hence
forth cited as KrV with standard A and B pagination.
15. KrV A xi.
16. KrV A xi.
17: Without ever turning it back into the despotism 9f the State: this is the
most constant and most remarkable-doubtless most audacious and hence most
problematic-trait ofKant's thinking (including, or even first andforemost, its sta
tus as a thinking of the political). Hadrian, in this story, is played by Hegel, of
course.
18. What tribunal could be established without reference to a pre-existing law,
338 Notes
apart from a tribunal of exception? Here, I have not been able to dwell on the law
itsel£ Yet if it is possible to suggest that the lex is never the strict equivalent of a lo
gos, then we can't avoid saying that, in one way or another, every judicial institu
tion operates in the last instance according to a rule of exception and thus accord
ing to the form that right excludes. The troubling ambiguity of right would stem
from its having, in principle, withdrawn from the State and, at the same time,
opened the very possibility of the tribunal of exception. In many ways, Kant's en
terprise also represents, by virtue of its audacity, metaphysics' own tribunal of ex
ception. Similar ambiguities will doubtless begin to unravel only once it has be
come possible for us to think how logos constitutes our own law ofexception.
19. Do we need to point out that Kant's discourse, like every metaphysical dis
course, stems from the primitive appropriation of its reason alone--and by the
primitive warding off of any accident that might affect it? What we need to hold
onto here is that, despite all this, an accident does happen-and happens in that
primitive operation itsel£
20. Heidegger, whose reading ofKant is clearly decisive here, stands in marked
contrast. See, in particular, the debate with Cassirer; Martin Heidegger, "Davoser
Disputation zwischen Ernst Cassirer und Martin Heidegger," in Heidegger, /(ant
und das Problem der Metaphysik, Gesamtausgabe 3 (Frankfurt a. M.: Vittorio
Klostermann, 1991), 274-96; translated by Richard Taft as "Davos Disputation be
tween Ernst Cassirer and Martin Heidegger," in Heidegger, /(ant and the Problem
ofMetaphysics (Bloomington: Indiana University Press, 1990), 171-85.
21. Scientific "law" presents itself, so to speak, as the opposite of or as opposed
to juridical law. Whereas the latter articulates an "area of action or claim," the for
mer-which doesn't simply disobey the structure of articulation but also excludes
it to the point where its utterances are held to be valid only insofar as they are in
dependent of the one who utters them-establishes what is (regardless of the sta
tus of this "being") within a given area, the area engendered by the subject (of)
science. As a philosophical, ethical, or political question, the question of the "right
of science" is always badly put insofar as it ignores the profound heterogeneity that
exists between the two orders. Science either has all rights, or it has none.
22. KrV B xiii.
23. KrV A 712; B 740.
24. KrV B xii.
25. As well as "on paper . . . but . . . completely a priori" (KrV A 713; B 741).
Another essay would need to be devoted to a general arialysis of schematization.
26. KrV A 33; B 50.
27. KrV A 132; B 171.
28. KrV A 134; B 173-
29. KrV A 134; B 173-
30. KrV A 135; B 174.
31. KrV A 135; B 174.
32. Despite certain variations in the Kantian vocabulary (see A. de Coninck,
Notes 339
L'Anarytique transcendantale de Kant [Louvain, 1955], I: 128 ff.), one notes that the
a priori forms of sensibility are supplied,. not by deduction, but by exposition.
33. KrV A 126.
34. See Luc Ferry et al., eds., Rejouer le politique (Paris: GalliIee, 1981), 95.
35. Jean-Luc Nancy, "The Free Voice of Man," in Philippe Lacoue-Labarthe
and Jean-Luc Nancy, eds., Retreating the Politica� ed. Simon Sparks.
CHAPTER 9
NOTE: This translation, first published in Studies in Practical Philosophy I, no. 1

(1999), is based on an article first p�blished in heavily abridged form in Diction
naire des Philosophes, ed. Noella Baraquin and Jacqueline Laffitte (Paris: Armand
Colin, 1997), 645-51. I would like to thank Keith AnseII Pearson and the Centre
for Research in Philosophy and Literature at the University ofWarwick for origi
nally commissioning this translation, and Simon Sparks for his invaluable help in
discussing aspects of the translation itseI£-Trans.
. I. Besides, the editors of the dictionary for which this article was first written
have already settled the matter by commissioning it.
2. See Martin Heidegger, "Brief iiber den 'Humanismus,'" Wegmarken, Gesam
tausgabe 9 (Frankfurt a. M.: Vittorio KIostermann, 1992), 313; translated by Frank
A. Capuzzi in collaboration with J. Glenn Gray, in Martin Heidegger, Basic Writ
ings, ed. Qavid Farrel! Krel! (London: Routledge, 1993), 213; henceforth cited as
BW.
3. BW 217·
4. Martin Heidegger, Sein und Zeit (Tiibingen: Max Niemeyer, 1993). Hence
forth cited as SZ.
5. Except for two instances of authenticite, Nancy uses propre ("proper, own,
authentic") and its derivations for Heidegger's use of terms based on the root eigen
(especially eigentlich and Eigentlichkeit). The special case of Ereignis is addressed in
the text.-Trans.
6. BW 220.
7. SZ 152•
8. BW 220.
9. BW 2I8.
10. BW 217.
H. BW 220.
12. BW 218.
13.BW 225.
14.See BW 225ff.
15.See Kant und das Problem der Metaphysik, Gesamtausgabe 3 (Frankfurt a.
M.: Vittorio KIostermann, 1991), 207 and §§38-41. Henceforth cited as KPM.
16. BW 26.
-, , . �. '
340 Notes
17. KPM §41•

18. See BW 229.
19. SZ 56, 135.
20. SZ 44, 136, etc.; see BW 236.
21. SZ 134. .
22. See the celebrated remarks on He.raclitus (BW 256-57).
23. See BW 248-49.
24. KPM §30.
25. BW 228.
26. BW 229.
27. See SZ 134.
28. BW 230.
29. BW 229·
30. BW 229·
31. . See SZ 170.
32. SZ 123.
33. See SZ 124.
34. See KPM §30.
35. BW 233·
36. BW i51.
37. BW 234·
38. Ibid.
39. Ibid.
40. BW 238.
41. Ibid.
42. BW 234·
43. BW 235.
44. Ibid.
45. Ibid.
46. Ibid.
47. BW 236.
48. Ibid.
49. BW 246.
50. BW 240'
51. Ibid.
52. BW 236 ff.
53. BW 246.
54. BW 236.
55. See BW 252: "'the world' is, in a certain sense, precisely 'the beyond' within
existence and for it."
56. · BW 258.
57. BW 255·
58. KPM § 30.
Notes 341
59. See BW 255ff.

60. BW 256.
61. BW 258.
62. BW 259.
63. BW 259, 262.
64. See BW 260.
65. SZ 294.
66. BW 259.
67. BW 246.
68. Ibid.
69. See SZ §§56-57.
70. SZ 281. [As Heidegger points out (SZ 281-83), the words schuldig and
Schuldhave many different connotations, running from guilt and responsibility all
the way to indebtedness. This needs to be borne in mind in the following lines.
Ed.J
71. SZ 283.
72. SZ 28I.
73- SZ 283·
74. See the complex relation .to the term "person" (SZ §IO).
75. See SZ 288.
76. BW 26I.
77. BW 260.
78. Ibid.
79. BW 26I.
80. Ibid.
81. BW 265.
82. BW 260.
83. SZ 288.
84. BW 265·
85. BW 263, 262.
86. Spinoza, Ethics, 5 prop. 42.
CHAPTER 10

(Paris: GaliIee, 1999).'
I. Immanuel Kant, Erste Fassung der Einleitung in die Kritik der Urteilskraft, in
Gesammelte Schriften, ed. Koniglich PreuBischen Akademie der Wissenschafren
(Berlin: Waiter de Gruyter, 1902-), 20: 195-251. [Except for the Critique ofPure
Reason, where I follow the standard A and B pagination, all references to Kant are
to this edition, henceforth cited as Ak, followed by volume and page number.
Quotes from the third Critique are taken from Immanuel Kant, Critique ofJudg-
342 Notes
ment, trans. and introd. Werner S. Pluhar (Indianapolis: Hackett, 1987). Quotes
from the first Critique are taken from Immanuel Kant, Critique ofPure Reason,
trans. Norman Kemp Smith (New York: St. Martin's, 1965); those of the second
Critique are from Immanuel Kant, Critique ofPractical Reason, trans. and ed.
Mary Gregor (Cambri4ge: Cambridge University Press, 1997). The page number
of the English translation follows that of the Akademie edition; the translation has
occasionally been modified in order to correspond more closely to the French
translation that Nancy quotes.-Trans.]
2. Ak 20: 195 1 385.
3. Ak 20: 203 1 392.
4. Ak 20: 201 1 390.
5. Ak 20: 205-6 1.394.
6. Ak 20: 206 1 395.
7. Ibid.
8. Ibid.
9. Ibid.
10. Ibid.
II. Ak 20: 206-7 1 395.
12. On the question of the "case" in general in Kant (even though the word
"case [Fa!!]" does not figure explicitly in the German text), see the work in
progress of Simon Zavadil, a fragment of which appears as 'TEvenement de la
contingence, ou les limites du principe de raison," Les Cahiers Philosophiques de
Strasbourg 5 (1997), 21I-32. [See also "Lapsusjudicii," above.-Ed.]
13. See the preface to the Critique ofPractical Reason, Ak 5: 4-14 1 3-II.
14. On matters of fact (scibilia), see §91 of the Critique ofJudgment. This sec-
tion calls for a detailed commentary, which I cannot provide here.
15. Critique ofPractical Reason, Ak 5: 71-89 / 62-75.
16. Ak 5: 73 1 64·
17· Ak 5: 77 1 66-67·
18. Ak 5: 80 1 68.
19. Critique ofJudgment, Ak 5: 289 1 154.
20. Ak 5: 222 / 67.
21. Ibid.
22. We would need to move from the passages on pleasure in the Introduction
and certain other sections of the Critique
. ofJudgment to the Metaphysics ofMorals
and the Anthropology (§64f).
23. Critique ofJudgment, Ak 5: 187 / 26-27.
24. Ibid.
25. See, in particular, the "General Comment on Teleology."
26. Ak 5: 482n. 1 377n. This is the only footnote in the "General Comment."
27. Ak 5: 187 1 27·
28. Critique ofPure ReasOn,A2I6, B263 1 237.
29. See the first-edition Transcendental Deduction, second section. .
Notes 343
30. Critique ofPractical Reason, Ak 5: 3 1 3.

31. See, in particular, §§60 and 83 of the Critique ofJudgment, where we read�
"the fine arts and the sciences . . . involve a universally communicable pleasure as
well as elegance and refinement, and through these they make man, not indeed
morally better for society, but still civilized for it" (Ak 5: 433 I 321; my emphasis).
32. Ak 20: 230 1 419-20.
33. See, of course, the Architectonic.
34. Critique ofPractical Reason, Ak V: 162 1 133-34.
CHAPTER II
NOTE: This essay has been reprinted from "The Sublime Offering," by Jean-.
Luc Nancy, in Ofthe Sublime: Presence in Question, ed. Jeffrey S. Librei:t, by per
missIon of the State University ofNew York Press. © 1993 State University of New
York. All rights reserved. This book originally appeared in French as Jean-Franc;:ois
Courtine et al, Du sublime (Paris: Belin, 1988); the essay was reprinted in Jean-Luc
Nancy, Une Penstfefinie (Paris: Galilee, 1990), 147-96.
I. The sublime is in fashion in Paris and among the theoreticians, who often
refer to it in recent years (Marin, Derrida, Lyotard, Deleuze, Deguy), as well as
in Los Angeles and among the artists: for example, one of the them entitled a re
cent exposition and performance "The Sublime" (Michael Kelley, April 1984).
One finds further evidenc� of this fashion in Berlin (Hamacher), Rome, and
Tokyo. (Not to speak of the use of the word "sublime" in the most current every
day speech.) As for the texts, they are numerous and dispersed. Let it suffice to in
dicate their authors here, my indebtedness to whose works it would be impossi
ble to convey adequately. But I do not intend to add to theirs one more
interpretation of the sublime. I attempt rather to come to terms with what it is
that they share and that the epoch shares in this fashion: that offers us all up to a
thought of the sublime.
2. This perhaps excessively concise formula adopts the general perspective of
Samuel Monk's classic study The Sublime: A Study of Critical Theqries in Eigh
teenth-Century England (Ann Arbor: University of Michigan Press, 1960), which
has been reconsidered with respect to France by Theo9,ore A. Litman in Le Sub
lime en France (P�ris: A. G. Nizet, 1971) from both a historical and an aesthetic
conceptual perspective. My contribution is neither historical nor aesthetic.
3. I must not omit to mention at least once the name of Nietzsche, who
thought, in one sense or several, something of the sublime, even if he hardly the-
matized it as such. .
4. Walter Benjamin, Gesammelte Schrifen t (Frankfurt a. M.: Suhrkamp, 1980),
. .
� C ��
5. Martin Heidegger, "Der Ursprung des Kunstwerkes," Holzwege (Frankfurt
a. M.: Vittorio Klostermann, 1980), 42; translated by Albert Hofstadter as "The
:: ,,-, ' � '.; c ", ,

344 Notes
Origin of the Work of AIt," in Heidegger, Poetry, Language, Thought (New York:
Harper & Row, 1971), 56.
6. Theodor W. Adorno, Asthetische Theorie (Frankfurt a. M.: Suhrkarnp, 1973),
292; translated by C. Lenhart as Aesthetic Theory, ed. ' Gretel Adorno and Rolf
Tiedemann (London: Routledge and Kegan Paul, 1984), 280.
7. Georges Bataille, Oeuvres, vol. 7 (Paris: Gallimard, 1970).
8. Maurice Blanchot, "La Litteratilre et le droit a la mort," in La Part dufeu
(Paris: Gallimard, 1949), 294; translated by Lydia Davis as "Literature and the
Right to Death," in The Gaze ofOrphetts, ed. P. Adams Sitney, with a preface by
Geoffrey Hartman (Barrytown, N.Y.: Station Hill, 1981), 22.
9. This means at once that these two modes of thought are opposed to each
other and that the thought of the sublime doubtless infiltrates and secretly disqui
ets the ,thqught of the end of art. But I will not attempt to show this here. In turn,
where Hegel explicitly speaks of the sublime, he does not bring anything of the
thought of the sublime to bear (see Paul de Man, "Hegel on the Sublime," in Dis
placement: Derrida andAfer, t ed. Mark Krupnick [Bloomington: Indiana Univer
sity Press, 1983], 139-53).
10. See Critique de la foculte dejuger, trans. A. Philonenko (Paris: Vrin, 1986,
§§ 23-29, 84, H4; Critique ofJudgment, trans. J. H. Bernard (New York: Hafner,
1951), 82-120, for most of the allusions to Kant's text which follow. The reference
here is to §23, 84 / 82.
H. The word can be found, e.g., in the Critique ofJudgment, §22, 80 / 78.
12. q, §6, 34 / 24.
13· q, §2, 50 / 39.
14· q, §23, 86 / 85·
15. CJ, §27, 98 / 98. "In the aesthetic evaluation of grandeur, the concept of
number ought to be kept at a distance or transformed."
'\
16. In this sense, all that in Kant still derives from a classic theory of analogy
and the symbol does not belong to the deep logic of which I am speaking here.
l? The latter formula is Lyotard's; see Le Difftrend (Paris: Minuit, 1983),
H8-19; translated by Georges Van Den Abbeele as The Differend: Phrases in Dis
pute (Minneapolis: University of Minnesota Press, 1988), 77-78. The former for
mula is Derrida's, from "Le Parergon," in La verite en peinture (Paris: Flammarion,
1978); translated by Geoffrey Bennington and Ian McLeod as The Truth in Paint
ing (Chicago: University of Chicago Press, 1987), 131-32. They are certainly not
wrong, and they comment rigorously, together or the one against the other, upon
the text ofKant. I do not attempt to discuss them here, preferring to take a differ
ent course�along the edge of presentation, but at a distance, and because pres
entation itself distances itself from itsel£ The political function of the sublime in
Lyotard would call for a different discussion, which I shall undertake elsewhere.
18. Kant does not fail to indicate an aesthetic direction combining the two mo
tifs: a sublime genre distinct from all others, and the determination of this genre
as a kind of total work of art. He in fact evokes the possibility of a "presentation of
Notes 345
the sublime" in the fine arts in terms of the "combination of the fine arts in one
single product," and he then indicates three forms: verse tragedy, the didacticpoem,
and the oratorio. There would, of course, be much to say about this. I shall content
myself here with noting that it is not quite the same thing as Wagner's
Gesamtkunstwerk. More particularly, Kant's three forms seem to turn around poetry
as the mode of presentation of destiny, thought, and prayer, respectively, and it
does not seem to be a matter of a "total" presentation.
19 · C] §26, 174; 91.
20. One ought to analyze the relations between Kant's Bestrebung and Freud's
Vorlust, that is, this "preliminary pleasure," whose paradox consists in its tension
and which occupies an important place in Freud's theory of the beautiful and of art.
21. C], §29, 105 / 128. I prefer, on this point, the first edition.
22. Hegel provides a kind of figure of this feeling by way of the other in his
discussion of the infant in the womb of its mother: See Jean-Luc Nancy, "Identite
et tremblement," in Hypnoses (Paris: GaliIee, 1984), 13-47; translated by Brian
Holmes as "Identity and Trembling," in Jean-Luc Nancy, The Birth to Presence,
trans. Brian Holmes and others (Stanford: Stanford University Press, 1993, 9-35) .
. 23. I am choosing to ignore here the economy of sacrifice, which is quite visible
in Kant's text, where the imagination acquires "an extension and power 'greater
than that which it has lost." I do not pretend that the offering is simply "pure
loss." But at the heart of the economy (of presence, art, thought), it [raJ offers it
self also, there is also offering, neither lost nor gained.
24. Gilles Deleuze, Cinema, vot I, L'Image-mouvement (Paris: Minuit, 1983),
69; translated by Hugh Tornlinson and Barbara Habberjam as Cinema, vol. I, The
Movement-Image (Minneapolis: University of Minnesota Press, 1986), 46.
25. I suspend here an analysis I pursue in L'Experience de la liberte (Paris:
Galilee, 1988); translated by Bridget McDonald as The Experience of Freedom
(Stanford: Stanford University Press, 1993).
, 26. C], §29, 106 / 109-10.
27. Darbieten or Darbietung ("offering") would be the word to substitute on
the register of the sublime for Darsteltung ("presentation"). But it is in each case a
matter of the dar, of a sensible "here" or "here it is."
28. See note 18, above.
29. It is remarkable that another Biblical commandment-the Fiat lux of
Genesis-had been already a privileged example of the sublime for Longinus and
for his classical commentators. From the one example to the other as from the one
commandment to the other, one can appreciate the continuity and the rupture.
30. See Jean-Luc Nancy, Le Discours de la syncope: 1. Logodaedalus (Paris:
'
Flammarion, 1976).
CHAPTER 12
NOTE: The title of the original French text is "I:Amour eclats." The word eclat
'c �I. : _ ': ,'" , : .'; .\ : :'

" ,
. -,J. " '
' ,. � �
. .'. . �. , ,:. " . ' .' ; �
346 Notes
should be read in all its outbursts. The word can mean, and appears here as: shat
ter, piece, splinter, glimmer, flash, spark, burst, outburst, explosion, brilliance, daz
zle, and splendor.-Trans. .
The English translation of this essay originally appeared as "Shattered Love," in
Jean-Luc Nancy, The Inoperative Community (Minneapolis: University of Min
nesota Press, 1991), 83-109. The French text can be found in Jean-Luc Nancy, Une
Penseefinie (Paris: GaliIee, 1990), 225-68.
1. The distinction that Nancy makes here is very easy'to render in French,
where abstract nouns may or may not be preceded by the definite article, depend
ing upon the context. Hence, Nancy is able to distinguish between "la pensee est
amour" and "la pensee est l'amour." In the first instance, love qualifies or describes
thinking; in the second, it is offered more as a definition of thinking: thinking is
love; it is identical with love.-Trans.
2. The French text reads, 'Tetre dans l'amour," but it is important to remem
ber that the English expression "being in love" does not translate literally into id
iomatic French. That might, then, be one of the meanings invoked here, but it is
not necessarily the sole or dominant one.-Trans.
3. Rene Char, Hypnos Waking, trans. Jackson Mathews (New York: Random
House, 1956), 59.
4. Roland Barthes, A Lovers Discourse: Fragments, trans. Richard Howard
(New York: Farrar, Strauss and Giroux, 1978), 148.
5. See Emmanuel Levinas, Totality and Infinity, trans. Alphonso Lingis (Pitts
burgh: Duquesne University Press, 1969), 50fE
6. There is no adequate translation for the French verb jouir. Translated as "to
enjoy," jouir loses its sexual connotation; translated as "to come," it loses its rela
tion to "joy." Following a suggestion by Nancy, I have created a new verb to trans-
.
late jouir : "to joy."-Trans.
7. The citation is in English in the original.-Trans.
CHAPTER 13
NOTE: This essay

. originally appeared in Transeuropeennes, no. 1 (autumn 1993):
8-18.
1. Schematically, and rather arbitrarily, I want to indicate three points of refer

ence or three possible directions within the immense space, crossed today from
every possible angle, of this question:
(1) The program marked out by the title of Etienne Balibar and Immanuel
Wallerstein, Race, Nation, Class: Ambiguous Identities (London: Verso, 1992).
(2) The terms and the motifs of "intermixing," "relation," and "creolization" as
deployed by Edouard Glissant in Pottique de la relation (Paris: Gallimard, 1990);
translated by Betsy Wing as Poetics ofRelation (Ann Arbor: University of Michigan
Notes 347
Press, 1993), and, along with Glissant, all the other "creoles" of art and literature,
for whom Salman Rushdie could also be considered an emblem.
(3) The vision of a "universal" hybridization or mixed race presented in Michel
Serres's Le Tiers-Instruit (Paris: Bourin, 1991), a vision that poses many of the prob
lems elicited by Bruno Tackels in "Ou est le metis?" Corresporulances 4, "Le(s)
Metissage(s)," UFR des Arts (Strasbourg: Presses Universitaires de Strasbourg,
1993).
2. Bernardo Bertolucci, The Last Tango in Paris.
3. Fernand Braudel, La Mediterran!e (Paris: Fiammarion, 1985), 134.
4. See, but with a different value placed on the "ipse," Gerard Granel, "Ipse
Dasein?" in La Ph!nom!nologie aux confins (Mauvezin: T. E. R., 1992).
CHAPTER 14
NOTE: This essay originally appeared in Jean-Luc Nancy, La Pens!e derobee

(Paris: Galilee, 1999).
I. GilIes Deleuze and Felix Guattari, Quest-ce que la philosophie? (Paris: Mi
nuit, 1991), 103; translated by Graham BurcheII and Hugh Tomlinson as What Is
Philosophy? (London: Verso, 1994), 108.
2. See Friedrich Nietzsche, Zur Genealogie der Moral in Kritische Studienaus
gabe, ed. Giorgio CoIli and Mazzino Montinari (Berlin: Walter de Gruyrer, 1988)
- 5: 293-94. Henceforth cited as KSA, followed by volume and page number, then
the page number of the English translation. Translated by Walter Kaufman as On
the Genealogy ofMorals (New York: Vintage, 1967), 59-60. See also KSA 5: 79-81;
translated by Walter Kaufman as Beyond Good andEvil(New York: Vintage, 1992),
74-76.
3. KSA 5: 292 1 Genealogy, 58.
4. KSA 5: 79 1 Beyond Good andEvil 72.
5. KSA 5: 81 1 Beyond Good and Evil 74.
, _
6. Immanuel Kant, Die Metaphysik der Sitten, in Gesammelte Schriften,. ed.

Koniglich PreuBischen Akademie der Wissenschaften (Berlin: Walter de Gruyrer,
1902-) 6: 439-40.
7. See Edmund Husserl, Psychological and Transcendental Phenomenology and
the Confrontation with Heidegger (I927-I93I), trans. and ed. Thomas Sheehan and
Richard E. Palmer (Dordrecht: Kiuwer, 1997), 492.
8. Martin Heidegger, Sein und Zeit (Tiibingen: Max Niemeyer, 1992), §58.
9. Jean-Paul Sartre, Write et existence (Paris: GaIlimard, 1989), 63; translated by
Adrian van den Hoven as Truth and Existence . (Chicago:- University of Chicago
Press, 1992), 30.
10. Emile Benveniste, Vocabulaire des institutions indo-europ!ennes (Paris: Mi-
nuit, 1969), 2: 165. _
H. Jacques Derrida, Du droit a la philosophie (Paris: Gallimard, 1990), 108;
,o r"� . i,.:•• . " "' , ... /� .; ," " "

348 Notes
translated by Jan Plug as Jacques Derrida, Whos Afraid ofPhilosophy? Righi to Phi
losophy I (Stanford: Stanford University Press, 2002), 66.
12. See Maurice Blanchot, L'Amitie (l.'aris: Gallimard, 1989), 326; translated by
Elizabeth Rottenberg as Friendship (Stanford: Stanford University Press, 1997),
289, 326. See, too, Thc;odor W. Adorno, Aesthetic Theory, trans. Robert Hullot
Kentor (Minneapolis: University of Minnesota Press, 1997), 39. .
13. Ernst Tugendhat, Self-consciousness and Self-determination, trans. Paul Stern
(Cambridge: The MIT Press, 1986), 297-98.
CHAPTER 15

(Paris: Galilee, 1999).
I. On this phrase, see the introductory remarks to two collections edited by

Philippe Lacoue-Labarthe and Jean-Luc Nancy: Le Retrait du politiq!<e (Paris:
Galilee, 1983) and Rejouer le politique (Paris: Galilee, 1981); translated and edited
by Simon Sparks as Retreating the Political (London: Routledge, 1996).-Ed.
Cultural Memory in the Present
Jean-Luc Nancy, A Finite Thinking, edited by Simon Sparks

Theodor W. Adorno, Can One Live after Auschwitz? A Philosophical Reader,
edited by RolfTiedemann
Patricia Pisters, The Matrix ofVISual Culture: WOrking with Deleuze in Film Theory
- Talal Asad, Formatiom ofthe Secular: Christianity, Islam, Modernity ·
Dorothea von Miicke, The Rise ofthe Fantastic Tale
Marc Redfield, The Politics ofAesthetics: Nationalism, Gender, Romanticism
,
Emmanuel Levinas, On Escape
- Dan Zahavi, Husserl's Phenomenology
Rodolphe Gasche, The Idea ofForm: Rethinking Kant's Aesthetics
Michael Naas, Taking on the Tradition: Jacques Derrida and the Legacies
ofDecomtruction
Herlinde Pauer-Studer, ed., Comtructions ofPractical Reason: Interviews on Moral
and Political I?hilosophy
Jean-Luc Marion, Being Given: Toward a Phenomenology ofGivenness
Theodor W. Adorno and Max Horkheimer, Dialectic ofEnlightenment
Ian Balfour, The Rhetoric ofRomantic Prophecy
Martin Stokhof, WOrld and Life as One:
' Ethics, and Ontology in Wittgemtein's
'
Early Thought
Gianni Vanimo, Nietzsche: An Introduction
';acques Derrida:, Negotiations: Interventiom and Interviews; I97I-I998,
ed; Elizabeth Rottenberg
Bren Levinson, The Ends ofLiterature: Post-tramition and Neoliberalism in the
wrtke ofthe "Boom"
Timothy J. Reiss, Agaimt Autonomy: Global Dialectics ofCultural Exchange
Hent de Vries and Samuel Weber, eds., Religion and Media
\.-.ri _ ; '_:"···
� ',' .
.... . .
�
- NikIas Luhmann, Theories ofDistinction: Redescribing the Des'; tions
ofModernity, ed. and introd. William Rasch
-Johannes Fabian, Anthropology with an Attitude: Critical Essays
Michel Henry, IAm the Truth: Toward a Philosophy ofChristianity
GiI Anidjar, "Our Place in Al-Andalus": Kabbalah, Philosophy, Literature in Arab-
Jewish Letters
Helene Cixous and Jacques Derrida, Veils
F. R. Ankersmit, Historical Representation
F. R. Ankersmit, Political Representation
Elissa Marder, Dead Time: Temporal Disorders in the wake ofModernity
(Baudelaire and Flaubert)
Reinhart Koselleck, The Practice ofConceptual History: Timing History, Spacing
Concepts
NikIas Luhmann, The Reality ofthe Mass Media
Hubert Damisch, A Childhood Memory by Piero della Francesca
Hubert Damisch, A Theory of/Cloud/: Toward a History ofPainting
Jean-Luc Nancy, The Speculative Remark (One ofHegel's Bons Mots)
Jean-Fran�ois Lyotard, SoundproofRoom: Malraux! Anti-Aesthetics
Jan Patocka, Plato and Europe
Hubert Damisch, Skyline: The Narcissistic City
Isabel Hoving, In Praise ofNew Travelers: Reading Caribbean Migrant WOmen ..
Writers
-:- Richard Rand, ed., Futures: OfDerrida
William Rasch, Niklas Luhmann's Modernity: The Paradox ofSystem .
Differentiation
Jacques Derrida and Anne Dufourmantelle, OfHospitality
Jean-Fran�ois Lyotard, The Confession ofAugustine
Kaja Silverman, WOrld Spectators
Samuel Weber, Institution and Interpretation: Expanded Edition
Jeffrey S. Librett, The Rhetoric ofCultural Dialogue: Jews and Germans
in the Epoch ofEmancipation
Ulrich Baer, Remnants ofSong: Trauma and the Experience ofModernity
in Charles Baudelaire and Paul Celan
-Samuel C. Wheeler III, Deconstruction as Analytic Phllosophy
David S. Ferris, Silent Urns: Roma�ticism, Hellenism, Modernity
Rodolphe Gasche, OfMinimal Thing;: Studies on the Notion ofRelation
�Sarah Winter, Freud and the Institution ofPsychoanalytic Knowledge
Samuel Weber, The Legend ofFreud: Expanded Edition
- - ,:,:4l
Aris Fioretos, ed., "The Solid Letter: Readings ofFriedrich Holderlin

J. HilIis Miller / Manu�1 Asensi, Black Holes /j. Hillis Miller; or, Boustrophedonic
Reading -
Miryam Sas, Fault Lines: Cultural Memory andJapanese Surrealism
Peter Schwenger, Fantasm and Fiction: On Textual Envisioning
Didier Maleuvre, Museum Memories: History, Technology, Art
Jacques Derrida, Monolingualism ofthe Other; or, The Prosthesis ofOrigin
Andrew_ Baruch Wachtel, Making a Nation, Breaking a Nation: Literahtre and
Cultural Politics in Yugoslavia
Niklas Luhmann, Love as Passion: The Codification ofIntimacy
Mieke Bal, ed., The Practice ofCulturalAnalysis: Exposing Interdisciplinary
Interpretation
Jacques Derrida and Gianni Vattimo, eds., Religion
' ,. ' ;,', . '
. ' J."t�•. ',t: ;."

"
'I ' �''''' '',' '
.' .�.,
. '

Jeanluc Nancy A Finite Thinking

Uploaded by

Copyright:

Available Formats

Jeanluc Nancy A Finite Thinking

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Jeanluc Nancy A Finite Thinking

Uploaded by

Copyright:

Available Formats

A FINITE THINKING

STANFORD UNIVERSITY PRESS

i ci; 1 5 -09- 2004 �*. :� 5e/\

Cet ouvrage, publie dans le cadre d'un programme d'aide a la publication,

Stanford Universiry Press

© 2003 by the Board ofTrustees of the

Printed in the United States of America

Library of Congress Cataloging-in-Publication Data

Original Printing 2003

Last figure below indicates year of this printing:

Typeset byTim Roberts in n!I3.5 Adobe Garamond

13- In Praise of the Melee

Thinking is never concerned with �ything else. If there is anything

always "discourse" (always a discourse of sense, never a silent ecstasis, even

The entire work of an epoch-that of philosophy going deeper into

tity," as "subjectivity," as "propriety," etc.) The to of the to itself, along with

"regulative idea," or in every form of relativism, or in an "enigma of ends,"

(or whose existing) is appropriation itsel£

Existence is the sense of being. Not, however, according to a relation

Another name for this is "freedom." Under:stood thus, freedom is not

ended up exploiting the "death of God," reconstituting or refounding an

Our history has often been presented as the process of a collapse or a

civilization that has itself become the civilization of the exterrriination of

to punk nihilism. Which shows us, as if we needed to be shown, that the

Extermination: in camps, by force of arms, by labor, by hunger or

it is freedom that binds and obligates itself, punctually, immediately, with­

Expropriation: there is a big difference, actually an opposition, be­

suppose auto-production and its reproduction, it "desupposes" it. It de­

Simulation: the truth of '68, which the opinion mal{ers stubbornly

man. There is no point in repeating the critique of the duality of alienation

Today, in a certain way, "simulation" just proliferates., Moreover, it

tion" as the spacing of sense.

Technicization: "Technology" is without a doubt one of the most ill­

:.. . ' � .' , .. . . . ..

technology compensates for a nonimmanence, that is to say, for an absence

� Bojazici Oniversitesi KOtOphanesi �

more than I want to claim to have "solved!' the, "question of technology." I

. . ... ' . � ... .. . . . .. I .

Each one of these tasks requires a finite thinking.

Perhaps more than ever-assuming such a formula can be allowed­

What they realized ultimately lies beyond what is evoked by words

No doubt it is this extremity, more than anything else, that sepa­

farewell to philosophy in a way that would ultimately be of little conse­

Granted, Sartre is almost always concerned with an extreme limit of

Bataille wants to consider thinking in terms of this intimation alone.

I should immediately add: by using Sartre's own words to illustrate

All we need to do, therefore, is consider the following question: Pre­

knowing. For him, "not-knowing" designates, on the contrary, knowing

then it steps outside itself and into not-knowing.

mate ground or to its sovereign sense.

surdity that is triumphant. Rather, it is sense itself or the truth of sense,

" �'\".' I.,

In short, what we need to do is to give some sense to this between­

Concealed thinking thinks the fact that there is no reason for us to be

necessity of undoing the hegemonic ties of finality without ever withdraw­

Hence, concealed thinking only thinks what conceals it from itself.

in a peculiar and powerful chain: the modern history (although perhaps

Of course, the motif of nocturnal illumination brings us dangerously

If concealed thinking is neither mystical nor philosophical, therefore,

it is freedom that binds and obligates itself, punctually, immediately, with

Expropriation: there is a big difference, actually an opposition, be

suppose auto-production and its reproduction, it "desupposes" it. It de

Technicization: "Technology" is without a doubt one of the most ill

Perhaps more than ever-assuming such a formula can be allowed

No doubt it is this extremity, more than anything else, that sepa

farewell to philosophy in a way that would ultimately be of little conse

All we need to do, therefore, is consider the following question: Pre

In short, what we need to do is to give some sense to this between

necessity of undoing the hegemonic ties of finality without ever withdraw

It is, no doubt, reasonable enough to attribute the practice of sacri

Bataille's thinking cannot but haunt contemporary reflection on sac

The mimetic rupture of Western sacrifice (or, if you prefer, to West

2. This sacrifice is unique, and it is consummated for all. More pre

Ultimately, everything happens as if the spiritualization or dialecti

In 1945, while in exile, Hermann Broch published The Death o/Vir

" . . . immolation, slaughter . . . " We can no longer distinguish be

cabulary of their administration, beginning with the expression "final so

selfand to nothing else. It de-subjectifies it, removing from it any possibil

Destruction has become a fact of culture or of civilization. It has be

Conics) in the sense familiar to us, as designating what is missing in a cir

Sense is touching. The "transcendental" of sense (or what is "onto

"Borborygmi" was a nonchalant and hasty response, premature as al

. thus communicating with a philosophical beyond of signification, port

mark of the absolute distance df the Other-a hyper-incipit more with