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Productive Digression is a translation of the ancient term poetics: as a practice of theory. The products produced in the mode of poiesis are 'digressive' in that they operate off track; they resist the main stream of every day prose. They do so for various reasons and in various respects. Mostly, they are explained historically, relative to historical contexts and, that is, contrary to what they are meant to resist. Instead, this book investigates the modes of resistance, their epistemology of production, in short, the logic of digression. The method addresses the singular exemplarity of art and literature; it elucidates the impact of poiesis as an epistemological challenge and redefines the analysis of literature and art as branches of an Historical Epistemology. Proceeding from the state of affairs in 20th century criticism and aesthetics (Benjamin, Adorno, Blumenberg, Merleau-Ponty), the epistemology of representation (Whitehead, Canguilhem, Bachelard, Rheinberger) is revised in, and with respect to critical consequences (Derrida, Marin, de Man, Agamben). From literary criticism and critical legal studies to the scenario of the life sciences, the essays collected here redirect the logic of research towards the epistemological grounds of an aesthetics underneath the hermeneutics of every day life.

Messianicity is not. Art is. Derrida, however, was not into pictures; his relationship with art remained in the quasi-transcendental mode of frames. Romeo Castellucci's use of a painting by Antonello da Messina exposes the Derridean non-messianism through art's power to illustrate – a mode abandoned by Derrida in the Heidegger-Schapiro debate on Van Gogh. In Castellucci, on the contrary, art illustrates what 'messianicity' is unable to illustrate and thus is bound to deny even in the negative.

"Si l'on reconnaît que la métaphore n'est pas un simple ornement du langage et que l'histoire de la pensée philosophique et scientifique s'est nouée autour de certaines "métaphores directrices" et de leurs changements de sens, il faut réviser notre image habituelle des rapports entre rhétorique et pensée conceptuelle, parcourir à nouveaux frais k cours de notre tradition et envisager autrement la succession des grandes métaphysiques. À cet égard, la pensée de Hans Blumenberg offre des instruments essentiels. Anselm Haverkamp et Jean-Claude Monod se sont attachés tout à la fois à éditer, situer et commenter les travaux de Blumenberg, tout en leur donnant des prolongements personnels. Ces prolongements et développements ne concernent pas seulement la réflexion sur la "métaphore absolue", telle que la "métaphorologie" de Blumenberg l'a illustrée, mais aussi l'histoire de la rhétorique et de la poétique, les moyens d'expression de la philosophie, les limites de la phénoménologie et les impasses de "l'histoire de l'être" heideggérienne, la portée anthropologique du mythe, les transformations de la mimèsis. Sont ici rassemblées des contributions de deux philosophes qui, l'un et l'autre, ont "pensé avec" Blumenberg."--Page 4 of cover

What impact has deconstruction had on the way we read American culture? And how is American culture itself peculiarly deconstructive? To address these questions, this volume brings together some of the most provocative thinkers associated with deconstruction, among them Jacques Derrida, Judith Butler, and Avital Ronnel. Ranging across a wide field, from the ethics of reading to the rhetoric of performance, the contributors offer provocative insights into a new sense of the political. The America of the volume's title turns out to be the place where the politics and poetics of responsibility meet. It is also the place where we confront the tension between difference and profound otherness.