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Zeitschriftenartikel zum Thema „Kofman Sarah“

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Autor: Grafiati

Veröffentlicht am 25. Mai 2024

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1

McDonald, Christie. „Sarah Kofman: Effecting Self Translation“. TTR : traduction, terminologie, rédaction 11, Nr. 2 (27.02.2007): 185–97. http://dx.doi.org/10.7202/037340ar.

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Abstract Sarah Kofman : Effecting Self Translation — In Sarah Kofman's work, philosophical and psychoanalytical analysis modulate into "life writing" and create a kind of translation which neither alone can fully explain. For Kofman, translation in this sense goes back to readings in philosophy, psychoanalysis and linguistics in order to effect change. Reading Nietzsche through Freud, and Freud through Nietzsche, Sarah Kofman unleashes powerful analytical tools from which emerge a very personal kind of writing in Rue Ordener, rue Labat. What is at stake is the destiny of woman, the extraordinary story of this woman-writer-philosopher and the relationship between life and thought.

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2

Thevenet, Charlotte. „Derrida's Missing Woman“. Paragraph 44, Nr. 1 (März 2021): 58–72. http://dx.doi.org/10.3366/para.2021.0354.

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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 disciple, Penelope Deutscher and more recently Ginette Michaud, among others, have endeavoured to interpret Derrida's odd silences and omissions regarding Kofman's work in a more subtle manner. Drawing on these readings, this article questions the erasure of ‘Sarah Kofman’ from Derrida's oeuvre by comparing it to the paradoxical effacement of ‘woman’ in the philosopher's texts, arguing that ‘Sarah Kofman’ both as a proper name and as a corpus figures the ‘woman’ missing from Derrida's work. Drawing on the work of feminist critics like Jardine, Miller and Spivak, the article retraces the ambiguous function of ‘woman’ in Derrida's writing, before stressing parallels between ‘Sarah Kofman’ and the Derridean ‘woman’.

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3

Strong, Tracy B. „On Sarah Kofman“. New Nietzsche Studies 7, Nr. 3 (2007): 4–6. http://dx.doi.org/10.5840/newnietzsche2007/200873/43.

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4

Deuber-Mankowsky, Astrid, und Ursula Konnertz. „Sarah Kofman (1934 - 1994)“. Die Philosophin 6, Nr. 11 (1995): 9–11. http://dx.doi.org/10.5840/philosophin199561123.

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5

Weinmann, Heinz. „Sarah Kofman. In Memoriam“. Études littéraires 28, Nr. 1 (1995): 5. http://dx.doi.org/10.7202/501103ar.

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6

Michaud, Ginette. „Reading Derrida Reading Kofman“. Paragraph 44, Nr. 1 (März 2021): 41–57. http://dx.doi.org/10.3366/para.2021.0353.

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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 ‘These interests and exercises go far beyond the limits of a short narrative, indeed of a terminable analysis’, thus challenging the reader to delve into these ‘elliptical greetings’. The numerous interactions present in Kofman's and Derrida's respective bodies of work are not without conflicts nor dissymmetry, and their often oblique modes of acknowledgement are far from any ‘balance’ on either side. Revisiting some of the différends among two great thinkers of différance, this article highlights the Derridean logic of gift and debt at work between them. Focusing on the posthumous tribute Derrida pays to his friend (left untitled, which is itself a revealing gesture), one can sense that there is much at stake in that piece that touches on the major question of forgiveness and the affirmation of survie or living on, thus setting a scene of reading where Derrida's debt towards Kofman turns out to be more telling than one may have expected.

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7

Posada Kubissa, Luisa. „Sarah Kofman, Freud y lo femenino“. Atlánticas. Revista Internacional de Estudios Feministas 4, Nr. 1 (07.09.2020): 218–39. http://dx.doi.org/10.17979/arief.2019.4.1.3472.

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Este trabajo se propone rescatar a una pensadora contemporánea poco (re)conocida hoy, como fue Sarah Kofman y, en particular, atender a la relevancia de sus ajustes críticos con el discurso freudiano sobre la feminidad. Desde una innegable afinidad intelectual con el padre del psicoanálisis, esta pensadora analiza las quiebras de su discurso cuando se trata de conceptualizar la femineidad, que la discípula entiende y revisa en Freud no sólo como insuficiente, sino como expresión de un subtexto patriarcal presente ya en filósofos tan reconocidos como Rousseau o el propio Kant. A partir de aquí, se entrará a discutir si estas posiciones de Kofman pueden ser leídas o no en clave de un discurso crítico-feminista.

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Eagan, Jennifer. „Enigmas: Essays on Sarah Kofman (review)“. Hypatia 17, Nr. 3 (2002): 271–73. http://dx.doi.org/10.1353/hyp.2002.0049.

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9

Johnson, Joseph R. „The Margins of a Nightmare“. Paragraph 44, Nr. 1 (März 2021): 88–102. http://dx.doi.org/10.3366/para.2021.0356.

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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 ages’), the text of a nightmare stands as a sort of bridge. In this article, I closely consider the meaning and symbolism of the nightmare, with a particular eye to how its central figures condense information that can be gleaned by consulting various sources that Kofman is known to have read. I argue that Kofman's essay, as well as her nightmare, function as a referential space in which medieval material at once conceals and discloses the points of greatest suffering.

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10

Pieniążek, Paweł. „Metafora i interpretacja u Nietzschego. "Nietzsche et la métaphore" Sarah Kofman“. Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, Nr. 19/20 (01.01.2007): 29–44. http://dx.doi.org/10.18778/0208-6107.19-20.02.

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L'article analyse l'interprétation deconstructive de la pensée de F. Nietzsche, qui a été presentée par Sarah Kofman sous l'influence de Jacques Derrida et à la base de sa critique de la tradition logocentrique. Kofman discerne deux périodes dans l'evolution de la philosophie de Nietzsche. Dans la premier Nietzsche part de la notion de la métaphore, qui detruit la possibilité du langage rationelle et objectif, mais qui se rapport symboliquement à l'essence dionysiaque du monde. Dans la seconde Nietzsche développe la notion de l'interprétation: la volonté de puissance n'est que l'interprétation, "la hypothèse interprétative" qui fonde la possibilité de l'interprétation en général. À la fin de l'article j'analyse les difficultés concernant l'interprétation presentée par Kofman.

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Morar, Cristina. „Femme et philosophe : texte, image, vie chez Sarah Kofman“. Articles 31, Nr. 2 (12.02.2019): 51–70. http://dx.doi.org/10.7202/1056241ar.

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Malgré son œuvre considérable, la philosophe Sarah Kofman peine aujourd’hui encore à trouver reconnaissance. L’auteure souhaite montrer comment le travail singulier de lecture, d’écriture et de dessin de Kofman était porté par l’exigence d’une parole et d’un regard qui ouvrent à la fois à la différence et à la proximité avec l’autre ainsi qu’à la transformation de soi. Elle s’interroge à savoir si cette « éthique de la lecture » n’est pas la caractéristique distinctive d’une pratique féminine de la philosophie.

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Toma, Cosmin. „Sarah Kofman and the Allure of Music“. Paragraph 44, Nr. 1 (März 2021): 73–87. http://dx.doi.org/10.3366/para.2021.0355.

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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 Labat. More specifically, the article shows how her interpretations of Nietzsche's writings on music are almost paradigmatically neutral in their readerly fidelity to the originals, whereas Rue Ordener, Rue Labat suggests a more emotionally charged rapport with music. In closing, the article considers the possibility that these two, ostensibly divergent modes of reading and writing are very much in tune with each other in that they blur the line between interprétation as philosophical commentary and interprétation as musical performance.

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Large, Duncan. „DOUBLE ‘WHAAM’! SARAH KOFMAN ON ECCE HOMO“. German Life and Letters 48, Nr. 4 (Oktober 1995): 441–62. http://dx.doi.org/10.1111/j.1468-0483.1995.tb01645.x.

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14

Ó Fathaigh, Cillian. „Kofman's Affirmative Creation: Moral Law, Dom Juan and the Limits of Maternal Debt“. Paragraph 44, Nr. 1 (März 2021): 11–25. http://dx.doi.org/10.3366/para.2021.0351.

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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 shows how Kofman proposes a form of affirmative creation which involves the rejection of a sexual economy shared by Kant, Freud and Dom Juan. It then turns to Nietzsche to explain this failure: we see that Dom Juan's insistence on the maternal in fact limits the self-creation that he desires. The article argues that Kofman understands the maternal as a limit on our capacity for creating a more just moral law. The case of Dom Juan, therefore, allows us to see that Kofman's affirmative creation involves the creation of new categories beyond the maternal and paternal.

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Swanson, Joel. „Contempt for the Whos? or: How to Read Nietzsche Autobiographically after the Death of the Bios“. Religions 13, Nr. 3 (28.02.2022): 205. http://dx.doi.org/10.3390/rel13030205.

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This paper examines French philosopher Sarah Kofman’s fractured relationships to her identities as Jew and woman. Active participant in postwar debates surrounding deconstruction and psychoanalysis, acclaimed reader of Freud and Nietzsche, and interlocutor of Derrida, Kofman is today most widely remembered for her autobiographical writings about her childhood as a young Orthodox Jewish girl during the Nazi occupation of Paris. Kofman’s mother sent her to pretend to be the daughter of a Christian woman, which both ensured Kofman’s physical survival and led to an uncanny Freudian doubling of the maternal figure, such that both “Jew” and “Christian” became unstable, mimetic identity categories which Kofman could never again fully inhabit. The paper examines Kofman’s writings on Nietzsche, suggesting that her attempt to absolve the German philosopher of the charges of antisemitism oft leveled against him functioned as a similarly failed and incomplete means of asserting control over her personal identity. If Kofman could demonstrate that Nietzsche was not in fact an antisemite, then she could write herself into the lineage of Continental philosophy and reclaim the stable ancestry she lost during the war. Yet the paper concludes that a counter-narrative running throughout Kofman’s writings suggests an awareness that she could never fully absolve Nietzsche, and therefore that her attempt to claim Nietzsche as a father figure would always fail. The paper thus suggests that the illusion of control and stability epitomized by Kofman’s reading of Nietzsche provides an interpretive thematic to understand the unstable figure of the post-Holocaust Jewish philosopher.

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16

Conley, Verena Andermatt. „For Sarah Kofman, on "Rue Ordener, rue Labat"“. SubStance 25, Nr. 3 (1996): 153. http://dx.doi.org/10.2307/3684871.

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17

Guertin, Ghyslaine. „Autour de Socrate(s). Rencontre avec Sarah Kofman“. Horizons philosophiques 10, Nr. 2 (2000): 53. http://dx.doi.org/10.7202/802934ar.

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18

Kofman, Sarah, Ursula Beitz und Ursula Konnertz. „Schreiben ohne Macht Ein Gespräch mit Sarah Kofman“. Die Philosophin 2, Nr. 3 (1991): 103–9. http://dx.doi.org/10.5840/philosophin19912325.

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19

Rottenberg, Elizabeth. „Freud's Jewish Jokes: The Case of Jokes and Their Relation to the Unconscious“. Paragraph 44, Nr. 1 (März 2021): 103–16. http://dx.doi.org/10.3366/para.2021.0357.

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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 d'esprit, provides us with one of the most serious and playful responses to these questions. It claims that a kind of Oedipal play leads Kofman to analyse Freud's book, to put it — and therefore him — on the couch.

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20

Rosenblum, Rachel. „Peut-on mourir de dire ? Sarah Kofman, Primo Levi“. Revue française de psychanalyse 64, Nr. 1 (2000): 113. http://dx.doi.org/10.3917/rfp.g2000.64n1.0113.

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21

Erdle, Birgit R. „Neuerscheinungen: Sarah Kofman: Die lachenden Dritten. Freud und der Witz“. Die Philosophin 2, Nr. 4 (1991): 78–84. http://dx.doi.org/10.5840/philosophin1991249.

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22

Rosenblum, Rachel. „And Till the Ghastly Tale Is Told: Sarah Kofman – Primo Levi“. European Judaism 33, Nr. 2 (01.09.2000): 81–103. http://dx.doi.org/10.3167/ej.2000.330210.

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The great catastrophes of history can be recognised through the paralysed silence which they leave in their wake, a silence which frequently is broken only to make way for the falsifications of memory. BEtween silence and falsification, a third path may be opened. For those who are capable of it, this path involves saying what happened, writing in the first person. This third possibility is doubly valorised. First of all, it offers a public testimony. It allows a truth which is unspeakable or not to be spoken to erupt onto the social scene. Secondly, it is meant to have a cathartic function. The author of the testimony would in this way be unburdening himself o a horror too heavy to bear. Put into words, his suffering would become something which could be shared. It is this sharing which will be discussed here, its power to grant peace. One may doubt this power.

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23

Ullern, Isabelle. „Construction en philosophie ? Autour d’une lettre d’André Green à Sarah Kofman“. Revue française de psychanalyse 79, Nr. 3 (2015): 880. http://dx.doi.org/10.3917/rfp.793.0880.

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24

Posada Kubissa, Luisa. „Crítica Feminista, Universalismo Ético Kantiano y una Lectura de Sarah Kofman“. Revista Portuguesa de Filosofia 75, Nr. 1 (27.04.2019): 145–58. http://dx.doi.org/10.17990/rpf/2019_75_1_0145.

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25

Deutscher, Penelope. „Pardon: Sarah Kofman and Jacques Derrida (on Mourning, Debt and Seven Friendships)“. Journal of the British Society for Phenomenology 31, Nr. 1 (Januar 2000): 21–35. http://dx.doi.org/10.1080/00071773.2000.11007277.

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26

Horowitz, Sara R. „‘The Detours Required’: Sarah Kofman and the ‘Black Milk’ of Hidden Children“. Journal of Holocaust Research 34, Nr. 4 (01.10.2020): 319–35. http://dx.doi.org/10.1080/25785648.2020.1818421.

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27

Faulkner, Joanne. „“Keeping It in the Family”: Sarah Kofman Reading Nietzsche as a Jewish Woman“. Hypatia 23, Nr. 1 (März 2008): 41–64. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01165.x.

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This article examines Sarah Kofman's interpretation of Nietzsche in light of the claim that interpretation was for her both an articulation of her identity and a mode of deconstructing the very notion of identity. Faulkner argues that Kofman's work on Nietzsche can be understood as autobiographical, in that it served to mediate a relation to her self. Faulkner examines this relation with reference to Klein's model of the child's connection to its mother. By examining Kofman's later writings on Nietzsche alongside her autobiography, this article contends that Kofman's defense of anti-Semitism in Nietzsche serves to fend off her own ambivalence about being Jewish.

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Faulkner, Joanne. „“Keeping It in the Family”: Sarah Kofman Reading Nietzsche as a Jewish Woman“. Hypatia: A Journal of Feminist Philosophy 23, Nr. 1 (Januar 2008): 41–64. http://dx.doi.org/10.2979/hyp.2008.23.1.41.

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29

Banham, Gary. „Nietzsche and Metaphor, by Sarah Kofman (1972), trans. from the French by Duncan Large“. Journal of the British Society for Phenomenology 27, Nr. 1 (Januar 1996): 106–7. http://dx.doi.org/10.1080/00071773.1996.11007141.

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30

GOULD, TIMOTHY. „Kofman, Sarah. The Childhood of Art: An Interpretation of Freud's Aesthetics. Trans. Winifred Woodhull“. Journal of Aesthetics and Art Criticism 48, Nr. 3 (01.06.1990): 252–53. http://dx.doi.org/10.1111/1540_6245.jaac48.3.0252.

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31

Kofman, Sarah. „And Yet It Quakes! (Nietzsche and Voltaire)“. Paragraph 44, Nr. 1 (März 2021): 117–37. http://dx.doi.org/10.3366/para.2021.0358.

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One of a handful of texts written by Sarah Kofman in the interim between the publication of her Explosion (1992, 1993), a 700-page analysis of Ecce Homo, and her sudden death in 1994, ‘And Yet It Quakes!’ is an unflinching contribution to her perennial analysis of Nietzsche's legacy. The essay opens with a presentation of the responses of Voltaire and Nietzsche to natural catastrophe: an earthquake in Lisbon in the case of the former, an earthquake in Ischia for the latter. Drawing on a metaphoric architecture of quaking or shakenness to draw together a variety of themes and problematics, the essay elaborates a rich comparative study of these two thinkers on the basis of their hasty passing-on from the ‘“humanitarian” considerations’ which such catastrophes might evoke. After analysing the influence of Voltaire on Nietzsche and the rich synergies between the two, with particular reference to irony and laughter, to aristocratism, and to the function of a polemical hostility to Rousseau within their various projects, Kofman's essay closes with a complex — and somewhat ambivalent — affirmation of the radicality of the Nietzschean project. (This text, first published in Furor shortly before Kofman's death, is collected in the posthumous Imposture de la beauté et autres textes (Galilée, 1995) and in Tributs à Voltaire (Furor, 2017). The ayant-droit is favourable to publication.)

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Eagan, Jennifer. „Deutscher Penelope and Oliver Kelly, Enigmas: Essays on Sarah Kofman. Ithaca, N.Y., Cornell University Press, 1999.“ Hypatia 17, Nr. 3 (2002): 271–73. http://dx.doi.org/10.1017/s0887536700012861.

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33

Michaud, Ginette. „Putting Truth to the Test of Forgiveness: Reading Jacques Derrida's Seminar, ‘Le parjure et le pardon’ (‘Perjury and Forgiveness’), translated by Cosmin Toma“. Derrida Today 11, Nr. 2 (November 2018): 144–77. http://dx.doi.org/10.3366/drt.2018.0184.

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This paper has been translated from the French by Cosmin Toma. It focuses on Jacques Derrida's very last lecture, given in Rio de Janeiro, on the 16th of August 2004, which Derrida drew from his ‘Le parjure et le pardon’ (‘Perjury and Forgiveness’) seminar held at the École des hautes études en sciences sociales (EHESS), in Paris, from 1997 to 1999. In reference to this final lecture in which Derrida deals with ‘forgiveness,’ ‘truth’, ‘reconciliation’, ‘testimony’ and ‘genre’, the paper also takes up the question of justice as well as of what he calls the ‘worst violence’ via testimonial writings by Sarah Kofman and Antjie Krog so as to rethink forgiveness.

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Tandyanto, Yulius. „Membaca 'Kebenaran' Nietzsche“. MELINTAS 31, Nr. 2 (23.11.2015): 130. http://dx.doi.org/10.26593/mel.v31i2.1622.130-153.

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<p>Nietzsche’s early work that gives wide exploration of the idea of truth is his unpublished essay entitled <em>Wahrheit und Lüge in Ausermoralischen Sinne </em>(1872). His controversial statement in this essay was “Truths are illusions”, opening many interpretations among scholars in understanding his position on truth. Sarah Kofman argues that it is useless to speak about truth in Nietzsche’s philosophy, for values are neither true nor false. Referring values to truth means forgetting to place oneself “beyond good and evil.” Unlike Kofman, Maudemarie Clark separates sharply Nietzsche’s critique of metaphysics and his denial of truth. Clark argues that Nietzsche rejects metaphysics and eventually overcomes it in his own work, but also that he ultimately affirms the existence of truths and therefore does not undermine his own theory when he claims truth for his own position. Clark’s strategy in defending her theses tries to explain that there is a turning (<em>Kehre</em>) in Nietzsche’s position. This article wants to offer an interpretation that Nietzsche does not make a new theory of truth in <em>WL</em>, but rather examines and constates truths that hold true. With his subtile and metaphoric style, Nietzsche might want to vivify the symbolic and figurative elements in language before the truth or reality that already escapes languages.</p>

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Gasché, Rodolphe. „L’expérience aporétique aux origines de la pensée.“ Études françaises 38, Nr. 1-2 (18.08.2004): 103–21. http://dx.doi.org/10.7202/008394ar.

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Résumé La pensée de Jacques Derrida a souvent été qualifiée d’autocontradictoire et accusée de se complaire dans des contradictions performatives conduisant à des apories insolubles. Si cette accusation est sans fondement, il est vrai que la notion d’aporie est présente dans le travail du philosophe depuis le début et occupe de plus en plus le centre de la scène dans son oeuvre récente. Cet essai tente de démontrer que, par le moyen de cet intérêt pour l’aporie, Derrida entreprend de discuter à nouveaux frais une question qui, depuis l’origine de la philosophie en Grèce, est intimement liée à la possibilité de la pensée philosophique. Par une analyse des positions de Sarah Kofman et de Martin Heidegger sur le concept de l’aporie, ce texte cherche à décrire la contribution propre de Derrida à ce problème philosophique.

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Regiane Lorenzetti Collares. „STEPHAN, Cassiana. Amor pelo avesso: de afrodite a medusa. Estética da existência entre antigos e contemporâneos. Curitiba: kotter editorial, 2021, 374p.“ ARARIPE — REVISTA DE FILOSOFIA 3, Nr. 1 (09.08.2022): 164–74. http://dx.doi.org/10.56837/araripe.2022.v3.n1.926.

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O livro Amor pelo avesso: de Afrodite a Medusa. Estética da Existência entre antigos e contemporâneos, de autoria de Cassiana Lopes Stephan, fruto de sua tese em Filosofia apresentada na Universidade Federal do Paraná, é tecido por uma espécie de escrita realizada com o próprio sangue, como diria Nietzsche; em um texto filosófico visceral, de crise e agonia, a autora nos convida a participar de uma discussão sobre as perspectivas ético-políticas das relações amorosas. Tal incursão filosófica se dá desde os antigos, com ênfase no estoicismo e no cinismo, levando-nos à aproximação tanto das reflexões contemporâneas de Michel Foucault, Pierre Hadot, Maurice Blanchot, Jean-Pierre Vernant, Sarah Kofman, Judith Butler, dentre outros, como também da inquietante literatura de Marguerite Duras e de produções cinematográficas baseadas em seus roteiros.

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Zurn, Perry. „The Curiosity at Work in Deconstruction“. Journal of French and Francophone Philosophy 26, Nr. 1 (04.06.2018): 84–106. http://dx.doi.org/10.5195/jffp.2018.780.

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Beginning with Jacques Derrida’s Beast and the Sovereign, I identify two forms of curiosity: 1) scientific curiosity, which proceeds through objective dissection and 2) therapeutic curiosity, which proceeds through observational confinement. Through an analysis of Derrida’s treatment of both sorts of curiosity, I notice and develop a third, deconstructive form of curiosity. Through repeated turn to the work of Sarah Kofman, I characterize this third curiosity as, by turns, linguistic, animal, and critical. As linguistic, this curiosity is a penchant for wordplay and a keenness for the unsteady reservoirs of signification, resisting any clean dissection of meaning or the confinement of terms. As animal, it tracks a scent, regularly suspending its paw, as if to emphasize the meandering and precarious quality of knowledge. And as critical, it combats the illusions of pure revelation and instead draws attention to the conjuring trick, the systematic substitution of signs, undergirding it. Finally, I consider in what way Derrida’s resistance to philosophy may be read on the grounds not of a singular wonder but of multiple curiosities.

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Vráblíková, Lenka. „Reading the Sexual Economy of Academic Freedom with Sarah Kofman and Jacques Derrida: A Feminist Deconstruction of Kant's Concept of the University“. Australian Feminist Studies 35, Nr. 103 (29.11.2019): 54–69. http://dx.doi.org/10.1080/08164649.2019.1698285.

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39

Conley, Verena Andermatt. „Freud and Fiction. Sarah Kofman , Sarah WykesContemporary French Fiction by Women: Feminist Perspectives. Margaret Atack , Phil PowrieThe Body and the Text: Hélène Cixous, Reading and Teaching. Helen Wilcox , Keith McWatters , Ann Thompson , Linda R. Williams“. Signs: Journal of Women in Culture and Society 18, Nr. 3 (April 1993): 703–7. http://dx.doi.org/10.1086/494831.

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40

Hoft-March, Eilene. „Still Breathing: Sarah Kofman's Memoires of Holocaust Survival“. Journal of the Midwest Modern Language Association 33, Nr. 3 (2000): 108. http://dx.doi.org/10.2307/1315346.

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41

Sheaffer-Jones, Caroline. „Sarah Kofman's Rue Ordener, rue Labat and Autobiography“. Australian Journal of French Studies 37, Nr. 1 (Januar 2000): 91–104. http://dx.doi.org/10.3828/ajfs.37.1.91.

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42

Robson, Kathryn. „Bodily Detours: Sarah Kofman's Narratives of Childhood Trauma“. Modern Language Review 99, Nr. 3 (Juli 2004): 608. http://dx.doi.org/10.2307/3738990.

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43

Robson, Kathryn. „Bodily Detours: Sarah Kofman's Narratives of Childhood Trauma“. Modern Language Review 98, Nr. 3 (Juli 2003): 608–21. http://dx.doi.org/10.1353/mlr.2003.a827699.

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44

Robson, Kathryn. „Bodily Detours: Sarah Kofman's Narratives of Childhood Trauma“. Modern Language Review 99, Nr. 3 (Juli 2004): 608–21. http://dx.doi.org/10.1353/mlr.2004.a827064.

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45

Deuber-Mankowsky, Astrid. „In unendlicher Distanz zu sich selbst. Sarah Kofmans Denken der radikalen Alterität“. Die Philosophin 8, Nr. 15 (1997): 24–43. http://dx.doi.org/10.5840/philosophin199781524.

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46

Erdle, Birgit R. „Bezeugen, verstehen, vergleichen: Spuren der Tradition der Erinnerung in Sarah Kofmans "Paroles suffoquées"“. Die Philosophin 6, Nr. 12 (1995): 38–52. http://dx.doi.org/10.5840/philosophin199561222.

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47

Tan, Jean Emily. „Immanence and Autobiography: Gilles Deleuze’s a life and Sarah Kofman’s autobiogriffure“. Kritike: An Online Journal of Philosophy 14, Nr. 1 (01.06.2020): 45–63. http://dx.doi.org/10.25138/14.1.a.3.

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48

Brian O'Keeffe. „The Refusal of Debt: On Sarah Kofman's Version of Don Juan“. symplokē 25, Nr. 1-2 (2017): 419. http://dx.doi.org/10.5250/symploke.25.1-2.0419.

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49

Rizzuto, Nicole. „Reading Sarah Kofman's testimony to les années noires inRue Ordener,Rue Labat“. Contemporary French and Francophone Studies 10, Nr. 1 (Januar 2006): 5–14. http://dx.doi.org/10.1080/17409290500429137.

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50

Clementi, F. K. „Nightbirds, Nightmares and the Mothers' Smile: Art and Psychoanalysis in Sarah Kofman's Life-Writing“. Women in French Studies 19, Nr. 1 (2011): 67–84. http://dx.doi.org/10.1353/wfs.2011.0023.

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