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Questions of mimesis, authorship and representation
Liz Tomlin

Lehmann’s initial analysis – in order to destabilise the ideological binary that it has engendered, and which I do not believe is sustainable under its own terms. Such an interrogation Questions of mimesis, authorship and representation 53 will involve a further ‘digging down’ into the poststructuralist project of Jacques Derrida, that has substantively provided the philosophical basis for the early twenty-first century’s postdramatic challenge to dramatic representation. Challenges to the dramatic Lehmann constructs his definition of the postdramatic on the

in Acts and apparitions
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Shakespeare’s voyage to Greece
Richard Wilson

foretaste of the future through its estranged vision of our past’, should coincide with Derrida’s reading of Hamlet as a play in which ‘what seems to be out in front, the future, comes back’, to presage the return of our repressed hope for a democracy to come. 10 In Specters of Marx Derrida set the scene for the messianic turn in Shakespeare studies when he decrypted the haunted vigil on the

in Free Will
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Liz Tomlin

extraordinary ones. Those of us who have a shared understanding of a more or less consensual reality are designated sane, whilst those of us who at times may not, are designated otherwise. Yet, despite this sometimes pragmatic and always ideological confirmation of the value of a shared notion of what ‘reality’ might mean, no concept has come under as much sustained interrogation in recent intellectual history. From Jacques Derrida’s metaphysical scepticism to Jean Baudrillard’s integral reality, philosophical, sociological and psychoanalytical theory throughout the late

in Acts and apparitions
Art and the spectre of ecological catastrophe
Charlie Gere

-made clouds’, but the issues their work invokes haunt our current reading of Ruskin, like the revenant that, in Jacques Derrida’s words, returns from the future.5 Clouds, man-made or otherwise, are also in themselves quasi-spectral phenomena, which are appropriate objects through which to think about questions of haunting, especially in relation to the environment, as Ruskin himself was well aware. It is through the work of Ruskin that I explore some of the relations between haunting and ecological catastrophe. It is my view that Ruskin articulates a prescient understanding

in The machine and the ghost
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Nicholas Royle

. Eliot resurrects in ‘Gerontion’ from Lancelot Andrewes, to Samuel Beckett’s subatomically fevered ‘what is the word’, to Derrida’s telepathy: ‘I felt, from a distance and confusedly, that I was searching for a word, perhaps a proper name…’ 1 It is the fate of a character in An English Guide to Birdwatching : ‘The sentence he was writing as he hovered over his keyboard , staring at the screen, pursuing the pulsing vertical of the cursor as it left in its wake a new letter, then word, punctuation, space, till the final full-stop, gave Stephen Osmer such an access of

in Hélène Cixous
Peter Barry

’, containing Derrida's lecture ‘Structure, Sign and Play’, and the questions which followed. In October 1966 an international symposium was held at Johns Hopkins University in the USA under the title ‘The Languages of Criticism and the Sciences of Man’. The sequence of elements in the title of the symposium indicates the ongoing primacy of linguistics, but again the aim of the gathering was to be interdisciplinary. The symposium was a co-production, so to speak, with the ‘ Sciences de l’Homme ’ section of the Ecole des Hautes Etudes, Paris, which was the cradle of

in Beginning theory (fourth edition)
Jonathan Darling

different imaginations of advocacy, activism, and the rights of refugees have been articulated through a specifically urban frame of reference. In doing so, the chapter develops as follows. I begin by briefly outlining recent work on the ‘politics of urbanism’ (Magnusson, 2011 ) that has sought to contest the dominance of a statist perspective in understanding contemporary politics. Building on this urban political focus, I then discuss Derrida's ( 2001 ) deconstruction of hospitality and his call to establish ‘cities of refuge’ that challenge

in Sanctuary cities and urban struggles
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Jeremy Tambling

order. Death sentence Derrida’s ‘Aphorisme Contretemps’, on Romeo and Juliet , makes writing and reading both ‘contretemps’. Sarah Kofman calls the aphorism ‘an invitation to dance: it is the actual writing of the will to power, affirmative, light and innocent’, the ‘task which requires one to elevate “reading to the level of an

in On anachronism
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Eleni Myrivili

to location. The second haunting is by Tuija Pulkkinen’s analysis of difference in Deleuze and Derrida. Here the notion of difference (and repetition) opens up to us through an insightful and nuanced elaboration (Pulkkinen, Chapter 4 above). I have been thinking of ‘the border as ghost’ for some time now. First it was a sensation, and it was what attracted me to borders and their study in the first place: borders have an uncanny, mysterious, and performative quality. Trying to grasp this sensation, I started thinking through the metaphor of ‘border as ghost’, and

in The political materialities of borders
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Laura Peters

continually told to ‘move on’ but never told where. In fact, society only wants Jo to move on out of sight, to disappear. Jo recognises that the only destination for him is to move on ‘to the berryin ground’ (Dickens, 1892 : 508); his death is what society yearns for; Jo is the scapegoat, the pharmakos, whose death is both yearned for and required. Derrida argues that the scapegoat is offered as a

in Orphan texts