Julie Candler Hayes

Unconditional Translation: Derrida's Enlightenment-to-Come

This essay traces the genealogy of Derridas phrase Enlightenment to come (Lumières à venir) in his writings of the 1990s and especially Voyous (2003), looking at his references to both the historical Enlightenment and the new Enlightenment and their gradual entwinement with his concept of democracy to come. More than other forms of the à venir that traverse his work, the Enlightenment to come focuses on language, specifically on translation. Derridas reflections on translation, from his early work to the final weeks of his life, point to an understanding of language as dialogue, hospitality, and reconciliation.

Translation, Subjectivity, and Culture in France and England, 1600-1800

Contents Acknowledgments xxx A Note on Texts xxx Introduction: Rethinking Neoclassical Translation Theory 000 1. From the Academy to Port-Royal 000 2. Transmigration, Transmutation, and Exile 000 3. Temporality and Subjectivity: Drydens Dedication of the Aeneis 000 4. Meaning and Modernity: Anne Dacier and the Homer Debate 000 5. Gender, Signature, Authority 000 6. From A Light in Antiquity to Enlightened Antiquity: Modern Classicists 000 7. Adventures in Print: Modern Classics 000 Conclusion: Historicizing Translation 000 Notes 000 Bibliography 000 Index 000

Translation and the transparency of French

The history of translation is inextricably linked to the history of reflection on language, both language in the abstract and languages in their local particularity. An influential account of French, current since the seventeenth century, claims that it is a “transparent” translating machine, superior to other languages in its ability to render all meanings in a noiseless transaction. This essay examines the responses of three postmodern/postcolonial writers in French, Édouard Glissant, Abdelkebir Khatibi and Jacques Derrida. All three critique the neoclassical account of French not by denying the centrality of translation to French, but by offering a new understanding of translation as an inherent component of language. For each, translation is key to a utopic, emancipatory project. Ultimately, their revisionary approach to the French language enables us to return to the texts of the past and read them anew in an ongoing dialogue.

Sade's Material/ Material Sade

Nearly half a century has passed since “L’Affaire Sade” of 1956, the censorship trial brought against publisher Jean-Jacques Pauvert for his landmark edition of the complete works of the Marquis de Sade. Pauvert “lost” in terms of the actual judgment, which was sustained on appeal, but he “won” inasmuch as the appellate court dropped the order to seize his books and imposed only a symbolic fine. Sade had long since won over artists and intellectuals, of course; Jean Paulhan, André Breton, Jean Cocteau, and Georges Bataille testified for the defense; Simone de Beauvoir republished her essay “Faut-il brûler Sade?” in 1955. Even before its conflicted final judgment, however, the Sade trial was rife with mixed messages: the state prosecutor worried openly about finding a place in literary history alongside the denouncers of Flaubert and Baudelaire, Bataille admitted that Sade’s books shouldn’t fall into the hands of just anybody, and both prosecution and defense agreed that Sade was “boring.”

Subversion du sujet et querelle du trictrac : le Théâtre de Diderot et sa réception

J.C. Hayes : Subverting the Subject and the Backgammon Dispute. Diderots Theatre and its Reception. An analysis of Diderots theatre, and especially Le Fils naturel, which attempts to bring out its revolutionary nature, generally much less obvious today than it was in his own time. It can be clearly seen in contemporary criticisms, studied here. His theatre shocked critics as it was based not on character, which is hardly developed, but on situations. Part of this displacing of the interest towards a situation and away from the subject lies in the importance of gesture and decor. A particularly revealing example is the criticism directed against the detailed description of the setting for Le Fils naturel, which includes a backgammon set lying on a table. The scorn poured on this detail is symptomatic of critics objections to the fact that Diderot upset the traditional hierarchy and distinction of genres.

Aristocrate ou democrate? Vous me le direz: Sade's Political Pamphlets

THE MARQUIS DE SADES FASCINATION with the structures of social relations and with the analysis of power make him an intensely political writer, but he has traditionally been excluded from discussions of Enlightenment political thought. Sade only recently became a major eighteenth-century writer; he has appealed to modern readers insofar as he seems to have deliberately set out to write against the cultural norms and structures of thought constituting his (and our) world. He also figures prominently in the twentieth-century critique of Enlightenment. For Max Horkheimer and Theodor Adorno, his novel Juliette exemplifies the ways in which the Enlightenment predilection for clarity, organization and demythologizing leads to a moral vacuum, a totalitarian nightmare3 To look at Juliette in the context of Sades other work, however, is to realize that his political thought cannot be so conveniently classified. Indeed, his most overtly political texts, the pamphlets and speeches from the early 1790s, indicate soulsearching and ideological unease in the face of revolutionary politics. Scholars who have studied Sades political leanings have been al-