Affirming Play in English Study

I thought this article/blog post from earlier this year might be more or less relevant to the Colebrook reading, in that it's dealing with similar questions about context and the continuing relevance of "theory" (suggested metonymically, again, by  Derrida). Where Colebrook leaves us hanging about exactly how reading might be practiced "after [a return to] theory," Joy proposes in some detail a mode of reading that leaves off the pursuit of contexts while, to borrow Derrida's words, "affirm[ing] play." (Disclaimer: Joy is talking specifically about a reading practice informed by Speculative Realism, but I think one could get something out of the argument even without an interest in or knowledge of SR.) Here's a moment I found especially pertinent:

Whereas traditional literary criticism often seeks to reveal the psychic-cultural-historical orders in which texts play an important part (and thereby, for all of contemporary critique’s disdain for what is “universal,” texts are often subsumed, whether as willing or more subversive actors, into larger and supposedly totalizing orders of meaning, referred to, with some suppleness, as “context”), a speculative reading practice might pay more attention to the ways in which any given unit of a text has its own propensities and relations that might pull against the system and open it to productive errancy (literally, ‘rambling,’ ‘wandering’ -- moments of becoming-stray). Any given moment in a literary work (all the way down to specific words and even parts of words, and all the way up to the work as a whole), like any object or thing, is “fatally torn” between its deeper reality and its “accidents, relations, and qualities: a set of tensions that makes everything in the universe possible, including space and time,” and literary criticism might re-purpose itself as the mapping of these (often in- and non-human) tensions and rifts, as well as of the excess of meanings that might pour out of these crevasses, or wormholes [...] The idea here would be to unground texts from their conventional, human-centered contexts, just as we would unground ourselves, getting lost in order to flee what is (at times) the deadening status quo of literary-historical studies at present, aiming for the carnivalesque over the accounting office.