ABSTRACT
This chapter focuses on the only explicit quote of a text by Beckett (Molloy) in Derrida’s corpus, examining it carefully within the text where it appears (Glas), and underlining the effects that the Beckettian oeuvre as a whole could have in Derrida’s work, and vice versa. Through an analysis of these effects in works like Endgame and “Circumfession,” it examines Derridean deconstruction’s and Beckett’s modernism’s attempt to rethink mimesis and representation. At the end it proposes the notion of “la pensée” as a feminine thought, in front of the present state of philosophy as a male-dominated thinking practice.
