An account of, and commentary on, a collection of dreams by this French novelist, playwright and theorist. The dream is both a rich poetic tapestry and a key document in understanding Cixous' writing practice. The 'You' of the title is Jacques Derrida to w

"Exciting, passionate writing. A refusal to mourn her very close friend Derrida's death, it begins with a telling of a dream in which Derrida and Cixous feature as footballing mice." Tom Boncza-Tomaszewski, The Independent.
In 2003 Derrida had promised to attend a colloquium on 'Reading Cixous and Derrida Reading Each Other/Themselves'. His untimely death in 2004 meant that it was, as Cixous writes, 'Impossible to keep one's word on this subject.' Insister of Jacques Derrida is Cixous' poignant and compelling response to his unfulfilled promise and a moving tribute to the colleague,...

Presents the translation of the keynote address Derrida delivered at the inaugural conference of the Helene Cixous archive at the National Library in Paris. Using Cixous's "Dream I Tell You" as a reference, this work argues that Cixous is the most importan

Investigates the relationship between philosophy, art and their presentation of both Jews and animalsBy developing his own conception of the 'figure' Andrew Benjamin has written an innovative and provocative study of the complex relationship between philosophy, the history of painting and their presentation of both Jews and animals.As Benjamin makes clear the 'Other' is never abstract. He underscores the means by which the ethical imperative, arising from the way the history of philosophy and the history of art are constructed, shows us how to respond to an already identified, even if...

Robert Rowland Smith takes Freud's work on the death-drive and compares it with other philosophies of death--Pascal, Heidegger and Derrida in particular. He also applies it in a new way to literature and art - to Shakespeare, Rothko and Katharina Fritsch, among others. He asks whether artworks are dead or alive, if artistic creativity isn't actually a form of destruction, and whether our ability to be seduced by fine words means we don't put our selves at risk of death.In doing so, he proposes a new theory of aesthetics in which artworks and literary texts have a death-drive of their own, not...