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Heather Walton

in her fascinations and bodily obsessions to the little boy. He eradicates the specificity of the feminine, marking the girl child as castrated. This castration is, for Freud, a necessary wounding which will bind female eroticism to masculine gratification. 88 Tina Chanter states that to write philosophy ‘is to speak the voice of universality, to seek for ultimate causes behind appearances, to account for why “reality” is the way it is, to unify, synthesise and systematize’ (1995: 141). Like Derrida, Irigaray regards the unacknowledged violence of the

in Literature, theology and feminism
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Chari Larsson

, art, and therefore the history of art. What is at stake here is Didi-Huberman’s place in the history of the French reception of Hegel. Didi-Huberman adds his voice to the distinctive anti-Hegelian current that has characterised French thought since the 1960s, particularly embodied in the work of Derrida, Foucault and Deleuze. Vincent Descombes described the shift in generational attitude towards the dialectic: ‘Burning the idol venerated until now, this generation denounced the dialectic as the supreme illusion, from which it sought to free itself through

in Didi-Huberman and the image
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Elisabeth Bronfen and Beate Neumeier

-theatrical identity’, notwithstanding the attempts of André Tchaikowsky’s biographer, David A. Ferré, to append a facsimile copy of his death certificate and his will, to the final chapter of the book as part of a process of authentication. The role that Tchaikowsky’s skull plays in the drama of Hamlet is to proliferate a series of ‘voices’, and voice, as Derrida tells us, is that which

in Gothic Renaissance
Declan Long

often masked or marginalised awkward facts about the legacies of conflict. This is a situation of aftermath that involves both the pressure to move 200 201 Conclusion – or against conclusions on and the related repression of much that cannot fit within dominant discourses of progress. The Good Friday Agreement called for a ‘fresh start’ but the society has remained perturbed by what Derrida refers to in another context as ‘the persistence of the present past’.2 As Willie Doherty notes, this is a simultaneously ‘settled’ and unsettling predicament in which it is

in Ghost-haunted land
Heather Walton

’ childhood was marked by war, occupation and 95 struggles against colonialism. She married at eighteen and migrated to France, where she completed her education and began research on the works of James Joyce. She met Jacques Derrida in 1962 and, by the mid-1960s, was immersed in French literary and cultural circles. Although active in the radical movements of 1968 she also successfully defended her doctoral thesis in that year, and in 1969 she was appointed Chair in English Literature at Paris VIII University, where she has continued to teach throughout her career

in Literature, theology and feminism
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Veep, Homeland, and Scandal
Elisabeth Bronfen

Troubling vision of feminine countersovereignty Democracy, as Jacques Derrida has argued, has always wanted two incompatible things. On the one hand, it is predicated on a limited inclusion, welcoming only those perceived as being citizens, brothers, and compeers, while excluding all others, in particular persons deemed to be rogue. On the other, democracy also wants to open itself up to all those excluded, even though this gesture of hospitable incorporation remains limited and conditional. Salient for this tension, he notes, is that ‘it is typical for

in Serial Shakespeare
Paul Wake

this group. Lord Jim and the structures of suicide 71 Blanchot: suicide and the ‘double death’ Blanchot’s reading of death, which comes through Heidegger from Hegel, is similar to Derrida’s and his consequent discussion of suicide takes into account the impossibility of the formulation ‘my death’. Blanchot approaches Heidegger’s ‘possibility of impossibility’, the sentence which for Derrida led to the characterisation of death as an aporia, through a consideration of suicide. In light of a philosophy that regards death as the guarantor of Being, suicide is an

in Conrad’s Marlow
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Drugs in theory
Dave Boothroyd

experimental readings of a number of texts by writers whose own diverse inquiries into the condition of modernity have found prominence in the annals of twentieth-century philosophy and cultural theory. This resulting cocktail of chapters I pass on to the reader to take as they wish. Together they offer a series of oblique and partial entries principally to the work of Freud, Benjamin, Sartre, Derrida, Foucault and Deleuze, in each case from the perspective of their encounters with drugs or on the basis of where the theme of ‘drugs’ touches upon their writings. This book

in Culture on drugs
Open Access (free)
The no-thing that knows no name and the Beckett envelope, blissfully reconsidered
Enoch Brater

speculated on the specifically theatrical potential of ‘postmodern theatric[k]s’ in contemporary American drama. Somewhat later, critics like H. Porter Abbott would centre this discussion on Beckett. Could his work be properly situated in the broad and less contentious context of ‘late modernism’? Richard Begam went even further, describing how Beckett’s fiction anticipates many of the defining themes and ideas of Barthes, Foucault and Derrida in moving us toward ‘the end of modernity’.1 By contrast, Beebe’s authors were far more tentative in the approaches they pursued

in Beckett and nothing
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Nicholas Royle

presented? Shelley’s poem implies that the question has to do with the gift. In ‘Ants’, a remarkable little essay about ‘the gift of a poem’, dreaming and sexual difference in Cixous – an essay that is based on a dream that she described to him one day over the telephone – Jacques Derrida provides a couple of succinct formulations in this context. First of all, wondering what it means ‘to give the word’ or ‘give a word’, and what it means to say that ‘words are things’, he observes: ‘If words are things, in any case they are not things like other things, and they cannot

in Hélène Cixous