In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness--fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. "Memoirs of the Blind" is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts--including Diderot's "Lettres sur les aveugles," the notion of mnemonic art in Baudelaire's "The Painter of Modern Life," and Merleau-Ponty's "The Visible and the Invisible." Along with engaging meditations on the history and philosophy of art, Derrida reveals the waysviewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, "Memoirs of the Blind" extends and deepens the meditation on vision and painting presented in "Truth and Painting." Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.

但是誰能擁有語言呢？語言又擁有誰呢？語言是在擁有之中嗎？是否是一個擁有或是一個被擁有的保存？被擁有，或是被獨一無二地被擁有，如同一件個人的財產？何謂語言的歸依，我們永遠回歸的家園呢？（p.18）

These two lectures by Jacques Derrida, "Foreigner Question" and "Step of Hospitality/No Hospitality," derive from a series of seminars on "hospitality" conducted by Derrida in Paris, January 1996. His seminars, in France and in America, have become something of an institution over the years, the place where he presents the ongoing evolution of his thought in a remarkable combination of thoroughly mapped-out positions, sketches of new material, and exchanges with students and interlocutors. As has become a pattern in Derrida's recent work, the form of this presentation is a self-conscious enactment of its content. The book consists of two texts on facing pages. "Invitation" by Anne Dufourmantelle appears on the left (an invitation that of course originates in a response), clarifying and inflecting Derrida's "response" on the right. The interaction between them not only enacts the "hospitality" under discussion, but preserves something of the rhythms of teaching. The volume also characteristically combines careful readings of canonical texts and philosophical topics with attention to the most salient events in the contemporary world, using "hospitality" as a means of rethinking a range of political and ethical situations. "Hospitality" is viewed as a question of what arrives at the borders, in the initial surprise of contact with an other, a stranger, a foreigner. For example, Antigone is revisited in light of the question of impossible mourning; "Oedipus at Colonus" is read via concerns that also apply to teletechnology; the trial of Socrates is brought into conjunction with the televised funeral of Francois Mitterrand.

Written in the aftermath of the fall of the Berlin Wall and within the context of a critique of a "new world order" that proclaims the death of Marx and Marxism, Jacques Derrida undertakes a reading of Marx's "spectropoetics" -- his obsession with ghosts, specters and spirits. Derrida argues that there is more than one spirit of Marx and that it is the responsibility of his heirs -- we are all heirs of Marx -- to sift through the possible legacies, the possible spirits, reaffirming one and not the other. He leads beyond the deafening disavowal of Marx today, a disavowal he sees as an attempt to exorcise Marx's ghost. Specters of Marx represents renowned philosopher Jacques Derrida's first major work on Marx and his definitive entry into social and political philosophy.

"In this densely imbricated volume Derrida pursues his devoted, relentless dismantling of the philosophical tradition, the tradition of Plato, Kant, Hegel, Nietzsche, Husserl, Heidegger--each dealt with in one or more of the essays. There are essays too on linguistics (Saussure, Benveniste, Austin) and on the nature of metaphor ("White Mythology"), the latter with important implications for literary theory. Derrida is fully in control of a dazzling stylistic register in this book--a source of true illumination for those prepared to follow his arduous path. Bass is a superb translator and annotator. His notes on the multilingual allusions and puns are a great service."--Alexander Gelley, "Library Journal"

Jacques Derrida's revolutionary theories about deconstruction, phenomenology, psychoanalysis, and structuralism, first voiced in the 1960s, forever changed the face of European and American criticism. The ideas in De la grammatologie sparked lively debates in intellectual circles that included students of literature, philosophy, and the humanities, inspiring these students to ask questions of their disciplines that had previously been considered improper. Thirty years later, the immense influence of Derrida's work is still igniting controversy, thanks in part to Gayatri Spivak's translation, which captures the richness and complexity of the original. This corrected edition adds a new index of the critics and philosophers cited in the text and makes one of contemporary criticism's most indispensable works even more accessible and usable.