Abstract
a distinction between literature and philosophy is essential to deconstruction's power of intervention: to the demonstration, for example, that the most truly philosophical reading of a philosophical work-a reading that puts in question its concepts and the foundations of its discourse-is one that treats the work as literature, as a fictive rhetorical construct whose elements and order are determined by various textual exigencies. Conversely, the most powerful and apposite readings of literary works may be those that treat them as philosophical gestures by teasing out the implications of their dealings with the philosophical oppositions that support them.'
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