Derrida’S Best Books
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The Work of Mourning 1St Edition Ebook Free Download
THE WORK OF MOURNING 1ST EDITION PDF, EPUB, EBOOK Jacques Derrida | 9780226502496 | | | | | The Work of Mourning 1st edition PDF Book Derrida, Jacques. Gilles Deleuze Anyone who still thinks that Derrida is a facetious punster will find such resentful prejudice unable to survive a reading of this beautiful work. In each case, he is acutely aware of the questions of tact, taste, and ethical responsibility involved in speaking of the dead--the risks of using the occasion for one's own purposes, political calculation, personal vendetta, and the expiation of guilt. The book, gathered as a whole, essentially marks the end of an important era in the history of Western philosophy, it was the era of existentialism, phenomenology, structuralism, post-structuralism, Marxist theory, and deconstruction. Diomed Xanthus rated it really liked it Jun 20, Books by Jacques Derrida. Add to Basket. But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. Alissa Bourbonnais rated it it was amazing Sep 16, R Justin rated it it was ok Jun 06, New Hardcover Quantity Available: 2. With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship. Jacques Derrida. More Details AM rated it it was amazing May 27, Showing He is aware of the questions of tact, taste and ethical responsibility involved in speaking of the dead, and the risk of using the occasion of death for one's own reason. With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship. -
RE-ANIMATING GHOSTS MATERIALITY and MEMORY in HAUNTOLOGICAL APPROPRIATION Abstract
INTERNATIONAL JOURNAL OF FILM AND MEDIA ARTS (2019) Vol. 4, Nº. 2 pp. 24-37 © 2019 BY-NC-ND ijfma.ulusofona.pt DOI: 10.24140/ijfma.v4.n2.02 RE-ANIMATING GHOSTS MATERIALITY AND MEMORY IN HAUNTOLOGICAL APPROPRIATION Abstract This research examines the spectrality of an- MICHAEL PETER SCHOFIELD imation and other media based on the photo- graphic trace. Using diverse examples from pop- ular culture and the author’s own investigative practice in media art, this paper looks at how ar- chival media is re-used and can be brought back to life in new moving image works, in a gesture we might call hauntological appropriation. While sampling and re-using old materials is nothing new, over the last 15 years we have seen an ongoing tendency to foreground the ghostly qualities of vintage recordings and found foot- age, and a recurrent fetishisation and simula- tion of obsolete technologies. Here we examine the philosophies and productions behind this hauntological turn and why the materiality of still and moving image media has become such a focus. We ask how that materiality effects the machines that remember for us, and how we re- use these analogue memories in digital cultures. Due to the multimodal nature of the author’s creative practice, photography, video art, doc- umentary film and animation, are interrogated here theoretically. Re-animating the ghosts of old media can reveal ontological differences between these forms, and a ghostly synergy be- tween the animated and the photographic. Keywords: hauntology, animation, memory, media * University of Leeds, United Kingdom archaeology, appropriation, ontology, animated [email protected] documentary 24 RE-ANIMATING GHOSTS MICHAEL PETER SCHOFIELD Every culture has its phantoms and the spectral- how we can foreground their specific materiality, and the ity that is conditioned by its technology (Derrida, haunting associations with personal and cultural memory Amelunxen, Wetzel, Richter, & Fort, 2010, p. -
Saint Jacques: Derrida and the Ghost of Marxism
Saint Jacques: Derrida and the Ghost of Marxism David Bedggood Introduction For the bourgeoisie, the collapse of "communism" made the world-historic victory of capitalism seem certain. Yet the contradictions of capitalism immediately called the new world order into question as globalisation brought with it what Jacques Derrida calls the "10 plagues". Apologists for capitalism are now fearful of the return of Marx's ghost. George Soros sees the ghost in the form of the anarchy of finance capital. Anthony Giddens sees the ghost in the rise of left or right fundamentalist ideology. Without realising it, they pose the problem in terms familiar to Marxists: the contradiction between dead and living labour and the rise of the dead reclaimed by the living. But is there a way out for capitalism? Jacques Derrida enters the fray with his book Specters of Marx. He returns to Marx, or at least, "one spirit" of Marx in the German Ideology. This is the "spirit" of Marx which became lost to totalitarian Marxism -- the "spirit" rediscovered in the extreme individualism of Max Stirner, who deluded himself that he was a free floating "unique" ego not subject to any social laws. By reclaiming the powers of alienated social being from the Hegelian god, Stirner worshipped his self as his personal god. By rediscovering this formerly unnoticed "spirit" of Marx, Derrida claims to find a way out of capitalism's plagues with the call for a "new International". Not a Marxist International on the side of living labour, but rather a reworked messianism of the religion of the abstract ego. -
Hauntology and Its Supplements: the Role of the ‘Spectre’ in Pole, Four⁶ and Metatechnic
Hauntology and Its Supplements: The Role of the ‘Spectre’ in Pole, Four⁶ and Metatechnic. …a ghost never dies, it remains always to come and to come-back. (Jacques Derrida, Specters of Marx)1 ‘What’s in a word?,’ we may ask ourselves. What indeed, especially when words have a nasty habit of evolving, mutating, getting lost or diverted, slipping through our fingers, or should that be ‘our minds’? But a certain evolutionary quality, in that how we understand and use words changes according to their contexts, times and users, does allow for an even greater multitude of interpretations than might otherwise be the case (it’s hard to think of many words whose meanings have never evolved), and also throws questions of authors, origins, and centres nicely into doubt. In fact, it allows for the permanent deferment of the arrival of a fully stable meaning or use, thereby allowing our hermeneutic faculties full play. Thus, meaning is deferred: our word plays through contexts of difference, differences that can be read, but not always heard, written but not effectively spoken—our word is caught up in a net of différance, one of Derrida’s key concepts. As Wortham notes: ‘différance is a famous neologism coined by Derrida to establish the limits of phonocentrism. Différance combines and develops a sense of differing and deferral implied by the French word ‘différence.’2 Wortham goes on to suggest that ‘Derrida frequently includes différance in an unmasterable chain or untitleable series that also includes the trace, the supplement, the remainder, writing, dissemination, pharmakon, cinder and so on.’3 Thus, although one of différance’s key attributes is what might be loosely termed its speech-curtailing properties, it is its capacity for an implied deferral that is of most relevance here. -
University of Birmingham from Microsound to Vaporwave
University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. -
DEVELOPING a HAUNTOLOGY of the BLACK BODY Kashif Jerome
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository SPECTERS AND SPOOKS: DEVELOPING A HAUNTOLOGY OF THE BLACK BODY Kashif Jerome Powell, MA A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Department of Communication Studies. Chapel Hill 2014 Approved by: Renee Alexander-Craft Ashley Lucas Della Pollock Alvaro Reyes Eric King Watts © 2014 Kashif Jerome Powell ALL RIGHTS RESERVED ii ABSTRACT Kashif Jerome Powell: Specters and Spooks: Developing a Hauntology of The Black Body (Under the direction of Dr. Renee Alexander-Craft) This dissertation utilizes theories of embodiment and performance to develop a “hauntology of blackness,” which investigates imaginative sites of death constructed through the historical, social, and performative facets of institutional slavery in the United States to theorize notions of blackness and the black body. I argue that the relationship between the black body and death have conjured a death-driven specter that manifest historically, performatively, visually, and phenomenally as blackness. The rise and continual return of this “specter of blackness” positions the black body in the United States as a body “haunted” by its own biological and phenotypical disposition. Placing the theory of Jacques Derrida and Frantz Fanon in conversation with scholars such as Avery Gordon, Saidiya Hartman, Toni Morrison, and others, I evoke the language of haunting to consider the profound effect the relationship between the black body and death has had on ontological, psychoanalytic, and phenomenological understandings of blackness within post-modernity. -
1470593120966700 Journals.Sagepub.Com/Home/Mtq
Article Marketing Theory 1–19 The haunting specter ª The Author(s) 2020 Article reuse guidelines: of retro consumption sagepub.com/journals-permissions DOI: 10.1177/1470593120966700 journals.sagepub.com/home/mtq Oscar Ahlberg Aalto University School of Business, Finland Joel Hietanen University of Helsinki, Finland Tuomas Soila University of Helsinki, Finland Abstract We propose to intensify theorizing on retromarketing and nostalgic consumption by further developing “hauntology” as a conceptual lens for assessing the retro aesthetic as a commodified affective excess of meaning. This allows us to explore the consumption of marketized retro- spective signs not from the perspective of personal experiences or creative meaning-makings but rather as affective encounters that desire in consumption desperately latches onto. In our view, it is thus not an aesthetic satisfaction, nostalgic comfort, or playful emancipations that are offered to us by retro consumption. Following a darker development of hauntology, we find ourselves instead thrust into spectral presences that we can never quite articulate, a haunting within us in an atmosphere of late capitalism where temporal belief in the future has been “cancelled.” Keywords Affect, future, ghost, hauntology, nostalgia, retromarketing, specter Introduction To mark the 40th anniversary of its iconic Walkman portable cassette player, Sony recently announced the rerelease of the device with great marketing fanfare. However, it was immediately apparent that something was amiss. The newly rereleased model does not have the capability to play the original C-cassette format but is simply a surface-level look-alike shell of the gadget of yore. In the popular press, Hamill (2019) notes that despite the Walkman disappointingly lacking the ability to play the antiquated cassette tape—which, alongside vinyl, is experiencing something Corresponding author: Oscar Ahlberg, Aalto University School of Business, Department of Marketing, Ekonominaukio 1, 02150 Espoo, Helsinki, Finland. -
Distant Music: Recorded Music, Manners, and American Identity Jacklyn Attaway
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Distant Music: Recorded Music, Manners, and American Identity Jacklyn Attaway Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES DISTANT MUSIC: RECORDED MUSIC, MANNERS, AND AMERICAN IDENTITY By JACKLYN ATTAWAY A Thesis submitted to the American and Florida Studies Program in the Department of Humanities in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2012 Jacklyn Attaway defended this thesis on November 5, 2012 The members of the supervisory committee were: Barry J. Faulk Professor Directing Thesis Neil Jumonville Committee Member Jerrilyn McGregory Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii I dedicate this to Stuart Fletcher, a true heir-ethnographer who exposed me to the deepest wells of cultural memory in the recorded music format; Shawn Christy, for perking my interest in the musicians who exhibited the hauntological aesthetic effect; and to all the members of WVFS Tallahassee, 89.7 FM—without V89, I probably would not have ever written about music. Thank you all so much for the knowledge, love, and support. iii ACKNOWLEDGEMENTS I would like to acknowledge Dr. Barry J. Faulk, Dr. Neil Jumonville, Dr. Jerrilyn McGregory, Leon Anderson, Dr. John Fenstermaker, Peggy Wright-Cleveland, Ben Yadon, Audrey Langham, Andrew Childs, Micah Vandegrift, Nicholas Yanes, Mara Ginnane, Jason Gibson, Stuart Fletcher, Dr. -
Curriculum Vitae Peggy Kamuf
Kamuf Vita, 1 CURRICULUM VITAE PEGGY KAMUF Department of French and Italian University of Southern California University Park Los Angeles, CA 90089-0359 Tel.: 213-740-0101 Fax : 213-740-8058 email: [email protected] • EDUCATION B.A., French and English, Bucknell University, 1969 Ph.D., Romance Studies, Cornell University, 1975 • UNIVERSITY APPOINTMENTS 1975-80: Assistant Professor of French, Miami University. 1980-88: Associate Professor of French, Miami University. 1987-88: Visiting Associate Professor of Literature, University of California, San Diego 1988- : Professor of French, University of Southern California 1989-95: Directeur de Programme Correspondant, Collège International de Philosophie (concurrent appointment) 1991- : Professor of Comparative Literature, University of Southern California (joint appointment) 1998: Visiting Professor, Centre d’Etudes Féminines, Université de Paris 8, Vincennes- St. Denis 2001-2003: Guest Professor, Department of French, University of Nottingham, England 2001- Marion Frances Chevalier Professor of French, University of Southern California (named professorship) 2006: Visiting Professor, Centre d’Etudes Féminines, Université de Paris 8, Vincennes- St. Denis 2010- Distinguished International Fellow, London Graduate School, London, England 2015- Distinguished Visting Professor, Kingston University, London, England • GRANTS AND HONORS 1976: Sigma Chi Foundation Grant, Miami University 1978: American Council of Learned Societies, Research Fellowship 1980: Miami University Summer Research Grant 1983: Miami University Summer Research Grant 1991: Ida Beam Visiting Professorship, University of Iowa Kamuf Vita, 2 1995: Raubenheimer Distinguished Faculty Award, USC 1996-97: Mellon Dissertation Seminar in Literature and History (with Professor Marshall Cohen, Philosophy) 2002: Invited Senior Fellow, Society for the Humanities, Cornell University 2005: Colloquium grant, Albert and Elaine Borchard Foundation 2006: René C. -
Mark Fisher Goldsmiths, University of London / University of East London (UK)
The Metaphysics of Crackle: Afrofuturism and Hauntology Feature Article Mark Fisher Goldsmiths, University of London / University of East London (UK) Abstract There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro- time of postmodernity. The emergence of a 21st century sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition. Keywords: Hauntology, Afrofuturism, dub, phonography, rockism Mark Fisher is the author of Capitalist Realism (2009) and the forthcoming Ghosts Of My Life: Writings on Depression, Hauntology and Lost Futures. His writing has appeared in many publications, including The Wire, Frieze, The Guardian and Film Quarterly. He is Programme Leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London and a lecturer at the University of East London. Dancecult: Journal of Electronic Dance Music Culture 5(2): 42–55 ISSN 1947-5403 ©2013 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2013.05.02.03 Fisher | The Metaphysics of Crackle 43 [In] “Phonograph Blues” . Johnson sings, with too much emotion it seems, about his broken record player. -
Hauntology and Brexit: Britain's Lost Future
Hauntology and Brexit: Britain’s Lost Future Joe Aitkin, University of York Hauntology, a term coined by Jacques Derrida and popularised by Mark Fisher, describes how we can be ‘haunted’ by the apparitions of lost futures. An ontological and temporal disjunction through which images of the past can be projected in our present and onto the future. While used by both in a Marxist and socio-cultural sense, I will overlay the framework of hauntology upon the issue of Brexit. My analysis demonstrates how Britain is currently in the throes of a crisis of political imagination; engaging in nostalgia for its imperial past and thus a lost future of heightened global relevance and glory. Through areas of political discourse and policy we can witness this appeal to the dislocation of the British psyche which prevents us from truly re- imagining our politics. My research intends to investigate this societal neurosis and the extent of its influence. In doing so, perhaps we can find our way forward or at least be more aware of our trajectory as a nation, in whatever direction that may be. I will begin by further defining hauntology and its relevance on British political history up until the present. To do this I will once again reference Fisher who, while writing in the capacity of cultural studies, comes to conclusions that naturally have political implications. His claim is that recently we have undergone a “disappearance of the future” and thus a “deterioration of [...] social imagination” (Fisher 2012). As a society we have lost our narrative. In a way we have reached the famous “end of history” (Roth and Fukuyama 1993) that Fukuyama proclaimed but not in the sense that we have reached some ideological peak, instead we can simply imagine nothing to replace our current system. -
A Symposium on Jacques Derrida's Specters of Marx Edited by Michael Sprinker London: Verso, 1999 Politics of Friendship Jacques Derrida London: Verso, 1997
Ghostly Demarcations: A Symposium on Jacques Derrida's Specters of Marx edited by Michael Sprinker London: Verso, 1999 Politics of Friendship Jacques Derrida London: Verso, 1997 Reviewed by Jonathan Joseph Learning to Live (with Derrida) Someone, you or me, comes forward and says: I would like to learn to livefinally. Finally but why? To learn to live: a strange watchword. Who would learn? From whom? To teach to live, but to whom? Will we ever know? Will we ever know how to live and first of all what 'to learn to live' means? And why fInally?1 Jacques Derrida has written a book about spectres; those that are neither alive nor dead, but he begins the book with an appeal - he comes forward, perhaps we come forward too, and asks to learn to live finally. Derrida has also written a book about friends. As well as asking to learn to live we could also ask about learning to live with. Both you and me should come forward. This is about learning to live with Derrida and about how Derrida should live with us. But 'living with' entails a commitment. 'To live' is·necessarily 'to . be' and to 'live with' is therefore to 'be with' or to 'be in' or 'be of. To be, to be in, to be of; to learn to live isfinally to recognise ontology. This article is about learning to live with Derrida and about learning from what he can teach us. But it is also about how he too should learn to live; and how he should recognise, finally, that to learn to live requires us to live with ontology.