Hauntology derrida pdf

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Keywords: Jacques Derrida; haptic visuality; hauntology; death; cinema; memory; ethics; loss 1. Introduction In recent years, the discourse surrounding haptics has seen increasing interest within the discipline of film studies, sparked perhaps by a turn towards the re-evaluation of phenomenology and Maurice
Derrida’s term hauntology, first coined in his Spectres of Marx in 1993, describes this instable or indefinable ontology. The term has proven itself a fruitful critical topos because it permits the discussion of a repeated, ungraspable roaming that colours our lives.1 Hauntology questions (or
Regrettably, Derrida’s return to Marx is too little haunted by this spirit of self-appraisal. But how far, in any case, is this coming back to Marx a genuinely new event, how far a revenant of Derrida’ s earlier deferrings of the engagement with the ethical and the political In the wake of 1989, Derrida’s Spectres de
‘One of Derrida’s best books . . . More explicitly than before, he has taken politics and history as his themes.’ New Statesman ‘Always a man of the left, [Derrida] felt able to write this book only when Soviet communism had collapsed, as his espousal of Marx was then, he said, less likely to be misunderstood.’ The Guardian
Hauntology (a portmanteau of haunting and ontology [1]) is a range of ideas referring to the return or persistence of elements from the social or cultural past, as in the manner of a ghost. The term is a neologism first introduced by French philosopher Jacques Derrida in his 1993 book Specters of Marx.
– 2 – But Derrida makes one important distinction, in that he sees spectrality and time as closely connected. He makes the point, speaking both of the ghost in Hamlet, and the ghost that haunts Marx‟s Communist Manifesto (where the first noun is „specter‟), that: „[a]t bottom, the specter is the future, it is always to come, it presents itself only as that which could come or come back
other words, is to let the foreclosed trace speak and to see what it does to Derrida’s deconstructionist project culminating in his later project of “hauntology.” In the penultimate chapter of Topographies (1995), J. Hillis Miller sets himself the task to “map” Jacques Derrida’s “topographies,” which is an attempt to locate Der-
This paper uses what Toni Morrison named ‘rememory’ in Beloved (1987) to redefine what Jacques Derrida named ‘hauntology’ in Specters of Marx (1994) to produce Black Feminist Hauntology: a counter-analysis to broken conceptions of time and bodies that critiques dominant, White supremacist constructions of colonized/colonizing, enslaved/enslaving and imprisoned/imprisoning bodies, lives
A Feminist Reading of Derrida’s Hauntology1 NANCY J. HOLLAND This paper addresses the question of whether Derrida’s “hauntology,” as developed in Specters of Marx and related texts, can be anything more than yet another rep-etition of a specifically male preoccupation with the Father inscribed on the bodies
Derrida, Heaney and the Translation of Virgil’s Aeneid, Book VI Abstract: This article focuses on Seamus Heaney’s posthumously published translation of Virgil’s Aeneid, Book VI. It does so through the lens of what the post-structuralist thinker Jacques Derrida terms hauntology. In this sense the repetition and return of the past is
Derrida, Heaney and the Translation of Virgil’s Aeneid, Book VI Abstract: This article focuses on Seamus Heaney’s posthumously published translation of Virgil’s Aeneid, Book VI. It does so through the lens of what the post-structuralist thinker Jacques Derrida terms hauntology. In this sense the repetition and return of the past is
and ideological conditions for hauntology to emerge. Having defined these concepts, I move on to some of the most prominent critics, taking stock of how hauntology was received in the academy shortly after its first appearance in Derrida’s Specters of Marx (1994), before swiftly moving on once again to define

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