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Emmanuel Falque

A philosophical and theological study of the eucharist in the Catholic Church.

Emmanuel Falque’s The Wedding Feast of the Lamb represents a turning point in his thought. Here, Falque links philosophy and theology in an original fashion that allows us to see the full effect of theology’s “backlash” against philosophy.

By attending closely to the incarnation and the eucharist, Falque develops a new concept of the body and of love. By avoiding the common mistake of “angelism”?consciousness without body?Falque considers the depths to which our humanity reflects animality, or body without consciousness. He shows the continued relevance of the question “How can this man give us his flesh to eat?” (John 6:52), especially to philosophy.

We need to question the meaning of “this is my body” in “a way that responds to the needs of our time” (Vatican II). Because of the ways that “Hoc est corpus meum” has shaped our culture and our modernity, this is a problem both for religious belief and for culture.

Praise for The Wedding Feast of the Lamb

“Animality, embodiedness, and eros: such, for Emmanuel Falque, are the grounds for our hope as we kneel before the altar and await the words of consecration in the Eucharist and behold not only what nourishes us here but also an intimacy promised to us hereafter. Here, as a complement to theologies of the Eucharist, is a phenomenology of the sacred liturgy: perhaps the most capacious account of our desire for Christ in the Sacrament offered to us by a contemporary.” —Kevin Hart, The University of Virginia

“A generative text for advanced study of worship and a deeper engagement of phenomenological approaches to sacramental theology.” —Homiletic: The Journal of the Academy of Homiletics

Fordham University Press

Perspectives in Continental Philosophy

The Wedding Feast of the Lamb: Eros, the Body, and the Eucharist

George Hughes

“Derrida’s most lasting legacy might well be his writings on religion . . . If the perplexed seek a guide, they can do no better than this excellent volume.” —Warren Breckman, University of Pennsylvania 

Jacques Derrida’s writings on the question of religion have played a crucial role in the transformation of scholarly debate across the globe. The Trace of God provides a compact introduction to this debate. 

It considers Derrida’s fraught relationship to Judaism and his Jewish identity, broaches the question of Derrida’s relation to the Western Christian tradition, and examines both the points of contact and the silences in Derrida’s treatment of Islam.

“An astonishingly fresh and vivid set of essays that not only cast new light on the work of the greatest philosophical provocateur of the late twentieth century but also provide food for reflecting today on the relations among violence, modernity, secularity, and religion.”?Allan Megill, University of Virginia

The Trace of God: Derrida and Religion

Twelve essays on the work of one of the great thinkers of twentieth-century Europe.

The Face of the Other and the Trace of God contain essays on the philosophy of Emmanuel Levinas, and how his philosophy intersects with that of other philosophers, particularly Husserl, Kierkegaard, Sartre, and Derrida. 

Edited by Jeffrey Bloechl, Levinas scholar and specialist in the philosophy of religion and contemporary European philosophy, and broadly divided into two parts—relations with the other, and the questions of God—this collection includes contributions by Bloechl, Didier Franck, John D. Caputo, Rudi Visker, Rudolf Bernet, Jean-Luc Marion, Merold Westphal, Adriaan T. Peperzak, Roger Burggraeve, Michael Newman, Robert Bernasconi, and Paul Moyaert.

The Face of the Other & the Trace of God: Essays on the Philosophy of Emmanuel Levinas

Jean-Luc Nancy

The renowned philosopher provides “noteworthy contributions to themes connected with images, imagination, representation, aesthetics, and . . . religion.” —Journal of American Academy of Religion

What is this power that lies in the depths and recesses of an image—which is always only an impenetrable surface? What secrets are concealed in the ground or in the figures of an image—which never does anything but show just exactly what it is and nothing else? How does the immanence of images open onto their unimaginable others, their imageless origin?

In this collection of writings on images and visual art, Jean-Luc Nancy explores such questions through an extraordinary range of references. From Renaissance painting and landscape to photography and video, from the image of Roman death masks to the language of silent film, from Cleopatra to Kant and Heidegger, Nancy pursues a reflection on visuality that goes far beyond the many disciplines with which it intersects. He offers insights into the religious, cultural, political, art historical, and philosophical aspects of the visual relation, treating such vexed problems as the connection between image and violence, the sacred status of images, and, in a profound and important essay, the forbidden representation of the Shoah. In the background of all these investigations lies a preoccupation with finitude, the unsettling forces envisaged by the images that confront us, the limits that bind us to them, the death that stares back at us from their frozen traits and distant intimacies.

In these vibrant and complex essays, a central figure in European philosophy continues to work through some of the most important questions of our time.

The Ground of the Image

Jeff Fort

“A book of philosophy very much captivated with music … an acoustemological elaboration of [Nancy’s] theorization of difference. ” —Journal of the American Musicological Society

In this lyrical meditation on listening, Jean-Luc Nancy examines sound in relation to the human body. How is listening different from hearing? What does listening entail? How does what is heard differ from what is seen? Can philosophy even address listening, écouter, as opposed to entendre, which means both hearing and understanding?

Unlike the visual arts, sound produces effects that persist long after it has stopped. The body, Nancy says, is itself like an echo chamber, responding to music by inner vibrations as well as outer attentiveness. Since “the ear has no eyelid” (Pascal Quignard), sound cannot be blocked out or ignored: our whole being is involved in listening, just as it is involved in interpreting what it hears.

The mystery of music and of its effects on the listener is subtly examined. Nancy’s skill as a philosopher is to bring the reader companionably along with him as he examines these fresh and vital questions; by the end of the book the reader feels as if listening very carefully to a person talking quietly, close to the ear.

“Listening adds a much needed poetic register to the philosophy of music and sonic culture. ” —Parallax

“In Charlotte Mandell’s splendid translation of Jean-Luc Nancy’s brief but passionate À L’Écoute, the French philosopher gives us a glimpse of this completely different philosophy of music. ” —Current Musicology

Listening

Charlotte Mandell

Jacques Derrida

The translated, complete text of Derrida’s 1997 ten-hour address, “The Autobiographical Animal,” focusing on the industrialized treatment of animals.

The Animal That Therefore I Am is at once an affectionate look back over the multiple roles played by animals in Derrida’s work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction?dating from Descartes?between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single “the animal.” Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses to the question in the work of each of them.

The book’s autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida’s experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of “man’s dominion over the beasts” and trace a history of how man has systematically displaced onto the animal his own failings or bêtises.

The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of “life” to which he returned in much of his later work.

The Animal That Therefore I Am

David Wills

Michael B. Smith

From one of France’s leading contemporary thinkers, “an astutely reasoned philosophical text, offering a revolutionary analysis of theistic religion” (The Midwest Book Review).

This book is a profound and eagerly anticipated investigation into what is left of a monotheistic religious spirit—notably, a minimalist faith that is neither confessional nor credulous. Articulating this faith as works and as an objectless hope, Nancy deconstructs Christianity in search of the historical and reflective conditions that provided its initial energy. Working through Blanchot and Nietzsche, re-reading Heidegger and Derrida, Nancy turns to the Epistle of Saint James rather than those of Saint Paul, discerning in it the primitive essence of Christianity as hope.

The “religion that provided the exit from religion,” as he terms Christianity, consists in the announcement of an end. It is the announcement that counts, however, rather than any finality. In this announcement there is a proximity to others and to what was once called parousia. But parousia is no longer presence; it is no longer the return of the Messiah. Rather, it is what is near us and does not cease to open and to close, a presence deferred yet imminent.

In a demystified age where we are left with a vision of a self-enclosed world—in which humans are no longer mortals facing an immortal being, but entities whose lives are accompanied by the time of their own decline—parousia stands as a question. Can we venture the risk of a decentered perspective, such that the meaning of the world can be found both inside and outside, within and without our so-immanent world?

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