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This article considers Sarah Kofman's interpretation of Molière's Dom Juan in ‘The art of not paying one's debts’. It argues that this neglected text addresses important questions of moral debt and that Dom Juan's failure to reject all debt is of central importance. Building on this, the article...
Mindful that philosophy is for Kofman always sublated (relevé) by literature and psychoanalysis, this essay examines Kofman's rarely discussed text ‘Conversions: The Merchant of Venice under the Sign of Saturn’ (1987) in the light of themes from elsewhere in her work. Typical of her method,...
This article examines the relationship that Jacques Derrida and Sarah Kofman developed throughout their lifetimes, both as close friends and as philosophers who shared many common research interests. In his tribute to Sarah Kofman, published in Les Cahiers du Grif in 1997, Derrida stated that...
Since Sarah Kofman's death in 1994, many critics have investigated her friendship with Jacques Derrida, and have tried to make sense of its striking dissymmetry. Contrary to those merely deeming Kofman ‘an orthodox Derridean’ (Alice Jardine), thus ascribing to her the unrewarding role of the...
This article delves into the discreet yet persistent presence of music in Sarah Kofman's work. Three strands or movements of unequal length are explored here, each of which touches upon a specific volume of Kofman's: Nietzsche and Metaphor, L'Imposture de la beauté and, lastly, Rue Ordener, Rue...
A pivotal fusion of philosophy and life-writing, Sarah Kofman's Comment s'en sortir ? (1983) concludes with a highly experimental essay that uses medieval language as a means of recalling traumatic childhood events. Between the medieval and the personal past (which Kofman terms her own ‘middle...
What is at play in play? What does it mean to take play seriously? Or, in the case of Sigmund Freud, what does it means to take jokes seriously? This article argues that Sarah Kofman's reading of Jokes and Their Relation to the Unconscious, in her 1986 book Pourquoi rit-on? Freud et le mot...
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