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Signature, event, context
Steven Marsh

’s cameo appearances in his own films), the identifying stylistic flourish of the cineaste. In contrast with the North American critics’ concept, Jacques Derrida’s notion of the signature, while sharing the former’s view of it as distinctive excess, focuses upon its function within what he terms ‘spacing’, i.e. the gap – the temporal deferral of the present, the spatial displacement of presence

in Hispanic and Lusophone women filmmakers
Narrating incest through ‘différance’ in the work of Angela Carter, A.S. Byatt and Doris Lessing
Emma V. Miller and Miles Leeson

extreme’ 15 and this is true of both her narrative style as well as the content of her writing. Yet despite this, her fiction is widely read and respected, even when, as in The Magic Toyshop (1967), she appears to condone a societal taboo. However, Carter’s writing is as much characterised by what it is, as what it is not, and her work is balanced, somewhat precariously, upon what Derrida in his

in Incest in contemporary literature
Hélène Ibata

relation to other framing practices and explain them in terms of parergonality, a notion introduced by Kant and more recently developed by Jacques Derrida. I will explain that Romantic formal experiments with unlimitation often took place in visual practices that were free from the quadrilateral frames of exhibition paintings, which were both ‘alienated’ from and auxiliary to the art work.3 Book illustrations, in particular, where visual representation could often provide its own edges, were a privileged ground of parergonal explorations. Such formal experimentations

in The challenge of the sublime
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Citational theory and contemporary characterisation
Liz Tomlin

, the chapter will address the concept and practice of adaptation, but it will also seek to move beyond the usual definitions to ask, through the lens of Derrida’s citational theory, what happens to the notion of adaptation once there is no longer any sense of an ‘original’ to which it can Apparitions of the real 82 refer. I will initially examine how citational aesthetics can be employed to support Hal Foster’s account of a resistant politics, as noted in Chapter 1, in order to expose the workings of the simulacrum from within and thus disable the authority of the

in Acts and apparitions
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From the axe to giving birth
Nicholas Royle

of a proper name, but the writer, the painter, the sculptor dreams of a style, a mark, a drawing or musical paraph in which the signature is given. The writer or artist dreams of climbing or descending the ladder into the nethermost forest, the starriest night. There is a moment in Glas when Jacques Derrida observes: ‘The signature is a wound and there is no other origin of the work of art.’ 2 But no sooner does he say it than he cuts his text and transfers the saying to Jean Genet: ‘There is no other origin for beauty than the wound – singular, different for

in Hélène Cixous
Annedith Schneider

leads to the other, but rather circular so that each makes the others possible. Jacques Derrida, in his final years, took up the topic of hospitality several times in his writing and in public speaking. In typical Derridean fashion, he discusses two different concepts of hospitality and then points out how they are inherently contradictory and yet inseparable. In a lecture on rights for immigrants and refugees originally presented to the International Parliament of Writers in Strasbourg in 1996 and later published as ‘On Cosmopolitanism and Forgiveness’ (Derrida 2001

in Turkish immigration, art and narratives of home in France
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Roads and writing
Valerie Allen and Ruth Evans

1 Introduction: roads and writing Valerie Allen and Ruth Evans It was the road, wet, rough, and uncertain as it sometimes was, that made the land a kingdom.1 Roads and writing In his 1966 discussion of Sigmund Freud’s metaphorical model of the structure of the psychical apparatus as a writing machine (the so-called ‘Mystic Writing-Pad’, a wax pad covered with cellophane, on which a child first writes and then lifts the cellophane to erase the words, only for the words to remain imprinted on the wax below), the philosopher Jacques Derrida yokes together two

in Roadworks
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Writing as a racial pharmakon
Alpesh Kantilal Patel

-eighth East Indian (as she notes on her website), none of these artists are of South Asian decent. However, at some point in their careers they incorporated sites in South Asia and/or signifiers connected to that part of the world as part of their artistic practices. Art historian Donald Preziosi’s invocation of Jacques Derrida’s pharmakon – the Greek word for both ‘remedy’ and ‘poison’ – is instructive in theorizing further how I approach whiteness.4 In his groundbreaking book Rethinking Art History: Meditations on a Coy Science, Preziosi provocatively writes that the

in Productive failure
Franz Kafka on the (im)possibility of Law’s self-reflection
Gunther Teubner

nightmarish logic in Kafka's universe? This is not meant to dispute the validity of the individual perspective in its own right. In complementing it, however, our institutional perspective allows very different things to come to the fore in Kafka's world. I am encouraged in my somewhat far-fetched interpretation by Jacques Derrida's whirlwind of associations concerning Kafka, in which he summons literature

in Critical theory and legal autopoiesis
Rachel Sykes

situated.5 This chapter stands apart within The quiet contemporary American novel because it sets out everything that the quiet novel is not. If the novel is quiet when it embodies an aesthetic that is calm, private and peaceful, then the novel is noisy when it is anxious, public and obtrusive. Consumed by the sounds of the present, driven by the desire to speak loudly and convinced of the importance of traumatic ‘event’ both to the present moment and to the lives of future generations, novels of the political ‘now’ are often afflicted by what Jacques Derrida refers to

in The quiet contemporary American novel