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Paul Wake

on death, little attempt is made to establish the nature of death itself. Jacques Derrida makes a similar complaint of history, revealing, in what he terms ‘radically absent questions’, the presuppositions with which analyses of Heart of Darkness often begin. He writes: the historian knows, thinks he knows, or grants to himself the unquestioned knowledge of what death is, of what being-dead means . . . The question of the meaning of death and of the word ‘death,’ the question ‘What is death in general?’ or ‘What is the experience of death?’ and the question of

in Conrad’s Marlow
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Dana Arnold

here of Jacques Derrida’s essay ‘ Ousia and Grammē ’, 2 where he argues that to differentiate in absolute terms between time and space would demolish them both and undermine the basic theoretical tenet that it is possible to define something by that which it is not; that is to say its opposite. Instead, we are left with the spaces in between – with differences that give the illusion of presence. Space becomes, then, in Derrida’s argument no longer represented as a subject or object distinct from temporal events. It is instead ‘the rhetoric of temporality’, 3

in Architecture and ekphrasis
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Elizabeth Dauphinée

statement of facts that seeks to minimize our exposure to uncertainty, incongruity, or paradox. They change as we change. Narrativity Storytelling is about securitizing; it is about securitising narratives and enshrouding them in a protective layer of reproduction so that their salience, relevance, and accuracy cannot be questioned. The witness, 127 4712P BOSNIA-PT/bp.qxd 6/12/06 15:04 Page 128 The ethics of researching war Derrida notes, is committed to telling the same story in the same ways each and every time. It is only in the ability to seamlessly corroborate

in The ethics of researching war
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Scott Wilson

11 All is war Attack at dawn with sonic horns Quranic forms and phonic guns Sufi surfing on boards of steel Laser sim tars coded zikar Love and hate approach the state The statue of liberty falls prostrate ... Dream team salahuddin The citizens they build a mosque on ground zero (Fun’da’mental, ‘All is War’, 2006) 11 September 2001 The epoch in which America has been known as the Great Satan is more or less the same as the epoch of the naming of rogue states generally. Consolidated by the end of the cold war, that epoch has, according to Jacques Derrida, been

in Great Satan’s rage
Contingency or transcendence formula of law?
Gunther Teubner

of justice appears, if at all, as a political, not as a legal project. So is justice itself, the most profound expectation that people have of the law, the blind spot in the distinction between law and society? Two external observers of law and society, Jacques Derrida and Niklas Luhmann, shed light on this blind spot and ask whether there is something specific that the sociology of law – as compared to

in Critical theory and legal autopoiesis
Raymond Pettibon’s drawing-writing
Tilo Reifenstein

, Jacques Derrida describes this kind of obstinate sign, one that seemingly belongs to language but refuses to be legible, as a mark which no ‘glottic thrust of reading … snatches … from the surface’.13 Snatched from the discourse of language, the unpronounceable character draws forth its own orthography of a word whose meaning is irrevocably altered. It perhaps captures breaking visually by breaking the k. Or, near the bottom of the cardboard, the circular blot that seems to counter the abundance of round unfilled Os around it and also acts as a black hole which sucks in

in Ekphrastic encounters
Stella Gaon

individual or collective terms) has become increasingly implausible in the face of continental critical theory and post-colonial analyses of difference over the past forty or so years. One might mention in this regard a wide set of challenges to the logic of sovereignty and autonomy, including the rhetorical and logical undecidability that undoes logical determination (Derrida, 1978; de Man, 1982), the unconscious drives that undermine conscious mastery (Freud, 1979, 1984, 1985; Lacan, 1981, 1982), the implications of power in knowledge (Foucault, 2006), the

in Democracy in crisis
Minding the gap in The Winter’s Tale
Elisabeth Bronfen and Beate Neumeier

‘The ear is uncanny’ ( Ear 33), considered Jacques Derrida, for the figure of the mother is always implicit in ‘the ear of the other’ (51). Whatever the boy whispers in his mother’s ear, to ‘fright’ her with his ‘sprites and goblins’ (28), therefore begs to be decrypted as the latent subtext of this play, an unhomely Gothic horror hidden beneath the homely dwelling of a romance

in Gothic Renaissance
Marie Mulvey-Roberts

dramatisation about the making of Nosferatu . Set in the aftermath of the First World War, Merhige’s film anticipates the rise of German fascism. Towards the end, a white-coated film-maker addressed as Herr Doktor becomes the uncanny double of a Nazi doctor projecting onto a Jew his own diseased ideology. Drawing on Derrida’s hauntology, the spectre of anti-Semitism within fascist cinema will be seen

in Dangerous bodies
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Neal Curtis

Cover (1992a, 1992b) and Giorgio Agamben (1998). Secondly, given the recurrence of animal motifs in superhero stories, Jacques Derrida’s (2009, 2011) analysis of the relationship between the violence of the beast and the law of the sovereign will also be considered. Before proceeding, however, what we understand by the term law requires a little refining if we are to register its significance, both in relation to sovereignty and the worlds defended by our superheroes. Law and the mark of community To begin with, while clearly retaining the legalistic understanding, it

in Sovereignty and superheroes