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Jacques Derrida's scattered remarks on the ambiguous role examples play in the passage between the universal and the singular revolve around an often‐neglected point: any attempt to theorise exemplarity will itself be subject to the law it seeks to account for. This oversight limits scholarship on the subject, but may be amended by returning to the loci classici on exemplarity in Derrida's Glas, La vérité en peinture...
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