Juliet Fleming - Cultural Graphology
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Juliet Fleming
The University of Chicago Press
Chicago and London
JULIET FLEMING is associate professor of English and director of the MA program in English at New York University. She is the author of Graffiti and the Writing Arts of Early Modern England.
The University of Chicago Press, Chicago 60637
The University of Chicago Press, Ltd., London
2016 by The University of Chicago
All rights reserved. Published 2016.
Printed in the United States of America
25 24 23 22 21 20 19 18 17 16 1 2 3 4 5
ISBN-13: 978-0-226-39042-0 (cloth)
ISBN-13: 978-0-226-39056-7 (e-book)
DOI: 10.7208/chicago/9780226390567.001.0001
Publication costs were supported by the Department of English at New York University, through the generosity of the Abraham and Rebecca Stein Faculty Publication Fund.
Library of Congress Cataloging-in-Publication Data
Names: Fleming, Juliet, author.
Title: Cultural graphology : writing after Derrida / Juliet Fleming.
Description: Chicago ; London : The University of Chicago Press, 2016. | Includes bibliographical references and index.
Identifiers: LCCN 2016001194 | ISBN 9780226390420 (cloth : alk. paper) | ISBN 9780226390567 (e-book)
Subjects: LCSH: Derrida, Jacques. | LiteratureHistory and criticism. | WritingSocial aspects.
Classification: LCC B 2430. D F55 2016 | DDC 194dc23 LC record available at http://lccn.loc.gov/2016001194
This paper meets the requirements of ANSI / NISO Z39.48-1992 (Permanence of Paper).
I am grateful to the students in Cambridge and New York who lent their youthful energies to reading Derrida with me and to the English translators whose work made that possible. John Forrester, Mary Jacobus, Sarah Kay, and other members of the Cambridge Psychoanalytic Reading Group offered stimulating conversation as I started work on this project, and the department of English at NYU, and the wider community of scholars in New York City and New Haven, provided a congenial environment in which to finish it. Jason Scott-Warren and Adam Smyth have been generous friends, interlocutors, and guides to the archive. Two anonymous reports (in one of which I recognized the brilliant hand of Tom Conley) and the careful scrutiny of Gary Tomlinson and Margreta de Grazia allowed me to significantly improve the final manuscript. I am indebted to all four readers for their transformative suggestions and corrections. Margreta has for many years cast her protective brilliance over the slow growth of this book. My deepest thanks are to her; to my son Raymond Fleming, who followed his mother up the steep paths of his childhood without flagging or complaint, until it became my turn to follow him; and to my dearest husband and partner in thought, Gary Tomlinson, to whom this book is dedicated.
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