HAUNTOLOGY DERRIDA PDF

Hauntology, as a trend in recent critical and psychoanalytical work, has in its French form hantologie, was coined by Jacques Derrida in his. Radical Atheism: Derrida and the Time of Life, Martin Hag- glund argues that this broken sense of time is crucial, not only to hauntology but to Derrida’s whole. Jacques Derrida .. That is what we would be calling here a hauntology. Ontology opposes it only in a movement of exorcism. Ontology is a conjuration.

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The term refers to the situation of temporal, historical, and ontological disjunction in which the apparent presence of being is replaced by a deferred non-origin, represented by hauntllogy figure of the ghost as that which is neither present, nor absent, neither dead nor alive.

This rhetorical artifice is abyssal. It is quite different when it becomes a commodity, when the curtain goes up on the market and the table plays actor and character at the same time, when the commodity-table, says Marx, comes on stage auftrittbegins to walk around and to put itself forward as a market value.

As the foregoing analysis has already demonstrated, this fetishism of the world of commodities arises from the peculiar social character of the labour which produces them.

The ghostly schema now appears indispensable. The commodity-form, to be sure, is not use- value, we must grant this to Marx and take account of the analytic power this distinction gives us. With all of them, the same ceremony: One should not rush to make of the clandestine immigrant an illegal alien or, what always risks coming down to the same thing, to domesticate him. That the without-ground of this impossible can nevertheless take place is on the contrary the ruin or the absolute ashes, the threat that must be thought, and, why not, exorcised yet again.

At the very origin of capital. To swear or to conjure, is that not the chance of thinking and its destiny, no less than its limit? Our own intercourse [ Unser eigner Verkehr ] as commodities proves it.

Of the will next. Contents Article Summary 1. The whole western literary tradition itself is founded on the notion of posterity, which Paul Eluard described as the “harsh desire to endure” through one’s works.

What would this persona, actor, or character say? One would no longer invite, either body or soul, no longer receive any visits, no longer even think to see.

The latter cannot be derived from a psychology of the imagination or from a psychoanalysis of the imaginary, no more than from an onto- or me-ontology, even though Marx seems to inscribe it within a socioeconomic genealogy or a philosophy of labour and production: Persons are personified by letting themselves be haunted by the very effect of objective haunting, so to speak, that they produce by inhabiting the thing.

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By using this site, you agree to the Terms of Use and Privacy Policy. Moving about freely aus freien Stuckenon its own head [de son propre chef], with a movement of its head but that controls its whole body, from head to toe, ligneous and dematerialised, the Table-Thing appears to be at the principle, at the beginning, and at he controls of itself.

To it, as Marcellus says once again and so prudently? Or Maurice Blanchotwho outlines what could be described as a hauntological take on literature as “the eternal torment of our language, when its longing turns back toward what it always misses “.

In the virtual space of all the teletechnosciences, in the general dis-location to which our time is destined — as are from now on the places of lovers, families, nations — the messianic trembles on the edge of this event itself.

Like its close relative psychogeographyhauntology originated in France but struck a chord on this side of the Channel. Would a conjuration ceremony have scanned the unfolding of an immense critical discourse? One must constantly remember that it is even on the basis of the terrible possibility of this impossible that justice is desirable: For if no use-value can in itself produce this mysticality or this spectral effect of the commodity, and if the secret is at the same time profound and superficial, opaque and transparent, a secret that is all the more secret in that no substantial essence hides behind it, it is because the effect is born of a relation ferance, difference, reference, and diff a renceas double relation, one should say as double social bond.

It is necessary, because these ghosts are bound to the categories of bourgeois economy. For democracy-to-come and thus for justice. We know that the question itself — and it is the most ontological and the most critical and the most risky of all questions — still protects itself. The flaw, the error of first sight is to see, and not to notice the invisible. They are forms of thought which are socially valid, and therefore objective, for the relations of production belonging to this historically determined mode of social production, i.

However potential it may appear, and however preparatory, however virtual, would this premise of exorcism have developed enough power to sign and seal the whole logic of this great work?

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On the other band, but how? Ghosts of My Life: Julian Wolfrey argues in Victorian Hauntings that “to tell a story is always to invoke ghosts, to open a space through which something other returns” so that “all stories are, more or less, ghost stories” and all fiction is, more or less, hauntological.

Persons guardians or possessors of the thing are haunted in return, and constitutively, by the haunting they produce in the thing by lodging there their speech and their will like inhabitants. Derrid point is right away to go bey rid, in one fell swoop, the first glance and thus to see there where this glance is blind, to open one’s eyes wide there where one does not see what one sees.

Hauntology: A not-so-new critical manifestation

hwuntology Despite the infinite opening of all these borders, one might perhaps attempt to define what is at stake here from at least three points of view:. Topics Literary criticism Books blog. This was not a critical question, but rather a deconstruction of the critical limits, the reassuring limits that guarantee the necessary and legitimate exercise of critical questioning.

Rather it characterises a relatively stabilised knowledge that calls for questions more radical than the critique itself and than the ontology that derroda the critique. Only four months to go, then. Deconstruction as an institutional practice.

Hauntology, spectres and phantoms | French Studies | Oxford Academic

The phantasmagoria, like capital, would begin with exchange-value and the commodity-form. On the other hand and by the same token, at stake is dereida irreducibility of the religious model in the construction of the concept of ideology.

Does it ever have any other choice except among several conjurations? Today, hauntology inspires many fields of investigation, from the visual arts to philosophy through electronic musicpolitics, fiction and literary criticism.

If this purity is not guaranteed, then one would have to say that the phantasmagoria began before the said exchange-value, at the threshhold of the value of value in general, or that the commodity-form began before the commodity-form, itself before itself. But it is the inheritance of a hauntooogy bind which, moreover, signals toward the double yauntology of any inheritance and thus of any responsible decision. And this whole theatrical process visual, theoretical, but also optical, optician sets off the effect of a mysterious mirror: