“More than fifteen years ago,” Jacques Derrida writes in the prologue to this remarkable and uniquely revealing book, “a phrase came to me, as though in spite of me. . . . It imposed itself upon me with the authority, so discreet and simple it was, of a judgment: ‘cinders there are’ (il y a là cendre). . . . I had to explain myself to it, respond to it—or for it.”
In Cinders Derrida ranges across his work from the previous twenty years and discerns a recurrent cluster of arguments and images, all involving in one way or another ashes and cinders. For Derrida, cinders or ashes—at once fragile and resilient—are “the better paradigm for what I call the trace—something that erases itself totally, radically, while presenting itself.”
In a style that is both highly condensed and elliptical, Cinders offers probing reflections on the relation of language to truth, writing, the voice, and the complex connections between the living and the dead. It also contains some of his most essential elaborations of his thinking on the feminine and on the legacy of the Holocaust (both a word—from the Greek hólos, “whole,” and kaustós, “burnt”—and a historical event that invokes ashes) in contemporary poetry and philosophy. In turning from the texts of other philosophers to his own, Cinders enables readers to follow the trajectory from Derrida’s early work on the trace, the gramma, and the voice to his later writings on life, death, time, and the spectral.
Among the most accessible of this renowned philosopher’s many writings, Cinders is an evocative and haunting work of poetic self-analysis that deepens our understanding of Derrida’s critical and philosophical vision.
Puns, jokes, proverbs, riddles, play languages, verbal dueling, parallelism, metaphor, grammatical stretching and manipulation in poetry and song— people around the world enjoy these forms of speech play and verbal artistry which form an intrinsic part of the fabric of their lives. Verbal playfulness is not a frivolous pursuit. Often indicative of people's deepest values and worldview, speech play is a significant site of intersection among language, culture, society, and individual expression.
In this book, Joel Sherzer examines many kinds of speech play from places as diverse as the United States, France, Italy, Bali, and Latin America to offer the first full-scale study of speech play and verbal art. He brings together various speech-play forms and processes and shows what they have in common and how they overlap. He also demonstrates that speech play explores and indeed flirts with the boundaries of the socially, culturally, and linguistically possible and appropriate, thus making it relevant for anthropological and linguistic theory and practice, as well as for folklore and literary criticism.
Throughout the first half of the nineteenth century, America was captivated by a muddled notion of “etymology.” New England Transcendentalism was only one outcropping of a nationwide movement in which schoolmasters across small-town America taught students the roots of words in ways that dramatized religious issues and sparked wordplay.
Shaped by this ferment, our major romantic authors shared the sensibility that Friedrich Schlegel linked to punning and christened “romantic irony.” Notable punsters or etymologists all, they gleefully set up as sages, creating jocular masterpieces from their zest for oracular wordplay. Their search for a primal language lurking beneath all natural languages provided them with something like a secret language that encodes their meanings. To fathom their essentially comic masterpieces we must decipher it.
Interpreting Thoreau as an ironic moralist, satirist, and social critic rather than a nature-loving mystic, Transcendental Wordplay suggests that the major American Romantics shared a surprising conservatism. In this award-winning study, Professor West rescues the pun from critical contempt and allows readers to enjoy it as a serious form of American humor.
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