This chapter explores Oppenheim’s period of ‘artistic block’ (c.1937–55) and examines her work produced during the war years when she was resident in Switzerland. It pays particular attention to her untranslated screenplay Kaspar Hauser oder Die Goldene Freiheit (1942–43).
This article theorizes the transgressive faculties of cyberspace‘s Gothic labyrinth, arguing that it is haunted by the ghost of material/information dualism. This ghost is embodied in cybergoth subculture: while cybergothic music creates a gateway to the borderland between biological and virtual realities, dancing enables cybergoths to transgress the boundaries between the two.
Chapter 6 explores Dickens’s use of the “as if” linguistic structure in Little Dorrit to reflect the ontological crisis of nineteenth-century speculative capitalism, which, in Lacanian terms, threatens the status of the “quilting points” of the “Name-of-the-Father” that grounds the symbolic order (and thus identity) in reality. The “as if” structure in Dickens is thus shown to have a double function. It allows Dickens to introduce a kind of “montage thinking” into the narrative form, giving images a disjunctive relation to the realist tendency of the narrative and also giving the images or details a kind of symbolic or signifying autonomy of their own. The “as if” also provides a radical critique of the effect of capitalism on the social sense of reality and its patriarchal structure, which is why the novel is so concerned with the motif of unmasking paternal signifiers in the case of the novels “three fathers” (the “Father of the Marshalsea,” the “Patriarch” Casby, and Merdle the begetter of speculative capital).
The rhetoric of ideology haunts Irish fiction. In this book, I map these rhetorical hauntings across a wide range of postcolonial Irish novels, and define the specter as a non-present presence that simultaneously symbolizes and analyzes an overlapping of Irish myth and Irish history. By exploring this exchange between literary discourse and historical events, Haunted Historiographies provides literary historians and cultural critics a theory of the specter that exposes the various complex ways in which novelists remember, represent, and reinvent historical narrative. Haunted Historiographies juxtaposes canonical and non-canonical novels that complicate long-held assumptions about four definitive events in modern Irish history—the Great Famine, the Irish Revolution, the Second World War, and the Northern Irish Troubles—to demonstrate how historiographical Irish fiction from James Joyce and Samuel Beckett to Roddy Doyle and Sebastian Barry is both a product of Ireland’s colonial history, and also the rhetorical means by which a post-colonial culture has emerged.
of ‘Discipline’, released as a 12” single in
June 1981 after the band had split, the members of TG stand ranged
in front of the Berlin building that once housed the Third
Reich’s Ministry of Propaganda. The photograph superimposes
TG over the building such that they appear spectral, already ghosts.
Jacques Derrida’s coinage, hauntology, is a gothicisation of
Scandinavian Late Iron Age gold foil figures through the lens of
Ing-Marie Back Danielsson
constant flux and becoming, but in
a different way. Dealing with their future generations, here referring
to the fact that we have generated alternative renderings of the gold
foil figures, it is rather the hauntological versions of the figures that
are in constant becoming and flux. Hauntology as a concept comes
from Derrida (1994) and it has been elaborated upon by Karen Barad
(2010: 253). She uses it to highlight how the production of specific
material-discursive beings, when brought about, simultaneously excludes
other phenomena. These exclusions then haunt the
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
That sense of estrangement opens up another, productive way of rereading Collins's use of the Gothic. The idea of a once-familiar, even comforting, but now strange and withdrawn reality finds its correspondence in the concept of hantologie , a term coined by Jacques Derrida to describe an irreducible ‘element’ that belongs neither to life nor death ( 1994 : 63). As Colin Davis has explained, hauntology ‘supplants its near-homonym ontology, replacing the priority of being and presence with the figure of the ghost as that which is neither present nor absent, neither
that use it as a critical tool for comprehending the post-millennial and post-nuclear era. For example, sound-artist Nick Edwards/Ekoplekz released tracks on his Intrusive Incidentalz which directly cite Brian Hodgson's memorable electronic soundtrack for the episode. Perhaps more notably given his role in popularising Derrida's notion of hauntology, k-punk (Mark Fisher) argued that ‘The Claws of Axos’ exploited the Dungeness landscape of rotting shacks, WWII relics, power stations and ‘the strange Picabia-like machines left on the beach like detritus abandoned by
Spectres of the past in recent Northern Irish cinema and television
premonition of the troubles that would flow from the failure to deal with the spectres of the
past. These diverse but often mournful films and television programmes, in other words, issue
a warning to politicians, and others, not to forget the ghosts that are all about us, an
injunction to acknowledge before it is too late that Northern Ireland exists in a perennially
perilous state that might be deemed ‘hauntological’.
Learning to live with ghosts
The concept of ‘hauntology’, in its
recent incarnation, derives from Jacques