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Journal articles on the topic 'Archive Fever'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Hessler, John. "Archive Fever." Journal of Map & Geography Libraries 3, no. 2 (2007): 79–95. http://dx.doi.org/10.1300/j230v03n02_05.

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2

Chlebowski, Ilana Swerdlin. "Archive Fever." Afterimage 36, no. 1 (2008): 30. http://dx.doi.org/10.1525/aft.2008.36.1.30.1.

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3

Gorman, Sarah. "Archive Fever." Performance Research 5, no. 3 (2000): 90–99. http://dx.doi.org/10.1080/13528165.2000.10871752.

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4

Lozier, Claire. "Watt's Archive Fever." Journal of Beckett Studies 22, no. 1 (2013): 35–53. http://dx.doi.org/10.3366/jobs.2013.0057.

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This article aims to understand what is at stake conceptually in Watt's complex play with its own archive and textual materiality. In doing so, the article deploys categories developed by Jacques Derrida in Archive Fever: A Freudian Impression. The article examines the work of the archive drive and of the destruction drive in Beckett's novel and shows that Watt suffers from an archive fever that is also, ultimately, a fictional and farcical affliction as well as a creative process.

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5

Shetty, Sandhya, and Elizabeth Jane Bellamy. "Postcolonialism's Archive Fever." Diacritics 30, no. 1 (2000): 25–48. http://dx.doi.org/10.1353/dia.2000.0007.

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6

Kerler, David. "Archive Fever and British Romanticism: Blake, Byron, and Keats." Anglia 138, no. 3 (2020): 355–83. http://dx.doi.org/10.1515/ang-2020-0034.

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AbstractThe article explores the interrelation of archives, melancholia, and their (de)constructive features in British Romantic poetry. It will argue that the proliferation of archives and archival practices from the late eighteenth century on had a strong influence on the literary‑cultural output of the British Romantics. This shall be scrutinised by drawing on an extended reading of Jacques Derrida’s “Archive Fever” (1995) and Julia Kristeva’s Black Sun, focusing on two basal, closely related aspects: (1) the subject’s feverish desire to archive, and (2) the archive’s (self‑)destructive ten

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7

Haebich, Anna. "Fever in the archive." Thesis Eleven 135, no. 1 (2016): 82–98. http://dx.doi.org/10.1177/0725513616657887.

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8

Hubbard, J. "FEVER IN THE ARCHIVE." GLQ: A Journal of Lesbian and Gay Studies 7, no. 1 (2001): 183–92. http://dx.doi.org/10.1215/10642684-7-1-183.

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9

Rand, Richard. "Thoughts on “Archive Fever”." Communication and Critical/Cultural Studies 7, no. 2 (2010): 207–11. http://dx.doi.org/10.1080/14791421003775725.

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10

Derrida, Jacques, and Eric Prenowitz. "Archive Fever: A Freudian Impression." Diacritics 25, no. 2 (1995): 9. http://dx.doi.org/10.2307/465144.

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11

Stewart, Bruce. "Archive fever in the grad. school." Irish Studies Review 7, no. 2 (1999): 237–40. http://dx.doi.org/10.1080/09670889908455638.

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12

Nicolaou, Argyro. "Archive Fever: Literature, Illegibility, and Historical Method." American Historical Review 125, no. 1 (2020): 112–25. http://dx.doi.org/10.1093/ahr/rhz760.

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Abstract This essay explores the allure of illegibility in the archive. The author adapts methods from literary analysis and visual art in order to decipher an inscrutable fragment from the archive of Greek Egyptian novelist Stratis Tsirkas (1911–1980): a hastily written something on a 1929 film flyer advertising the screening of two Hollywood movies at the Ciné de Paris theater in Cairo. In her attempt to render the text legible, the author reconstructs the moment of the archival fragment’s production by developing a technique called “reverse calligraphy.” This sensory engagement with the arc

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13

Boshoff, Anél. "Archive Fever: ‘Order is no longer assured’." South African Journal of Philosophy 31, no. 4 (2012): 632–45. http://dx.doi.org/10.1080/02580136.2012.10751798.

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14

Earlie, Paul. "Derrida's Archive Fever: From Debt to Inheritance." Paragraph 38, no. 3 (2015): 312–28. http://dx.doi.org/10.3366/para.2015.0170.

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This article reads Derrida's Archive Fever (1995) as a sustained reflection on the influence of psychoanalysis on deconstruction. It examines the text's deployment of two financial figures — debt and inheritance — as contrasting ways of coming to terms with the intellectual legacy of psychoanalysis. Derrida's reading of Yosef Hayim Yerushalmi's Freud's Moses exposes the historian's reliance on a ‘classical’ concept of the archive as the depository of a self-identical past, a concept which underpins Yerushalmi's thesis of Freud's unpaid debt to Jewish culture. This conception gives rise to seve

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15

D'Cruz, Glenn. "Letter to a Dead Playwright: Daily Grind, Vicki Reynolds, and Archive Fever." New Theatre Quarterly 28, no. 2 (2012): 122–32. http://dx.doi.org/10.1017/s0266464x1200022x.

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’Nothing is less reliable, nothing is less clear today than the word “archive”,’ observed Jacques Derrida in his book Archive Fever: a Freudian Impression (1996). This paper reflects on the unsettling process of establishing (or commencing) an archive for the Melbourne Workers Theatre, to form part of the AusStage digital archive which records information on live performance in Australia. Glenn D'Cruz's paper juxtaposes two disparate but connected registers of writing: an open letter to a deceased Australian playwright, Vicki Reynolds, and a critical reflection on the politics of the archive w

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16

Cox, Lara. "Reaching for Archive Fever: A Tall Tale about Queer ‘Made in France’." Paragraph 39, no. 3 (2016): 319–34. http://dx.doi.org/10.3366/para.2016.0204.

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This article reflects on the history of queer theory's entry in France by turning to two critics, Marie-Hélène Bourcier and François Cusset, who claim to have introduced the term ‘queer’ into French culture. It analogizes these critics' claims as a battle of the ‘archons’ as conceptualized by Derrida in Archive Fever. Archons police official memory and search for the ‘authentic’ origins of the event, practice or discipline that is archived. The Derridean formulation allows me to consider the narrative that Bourcier and Cusset assert, particularly that concerning the status of French theory as

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17

Williams, Dana A., and Marissa K. López. "More Than a Fever: Toward a Theory of the Ethnic Archive." PMLA/Publications of the Modern Language Association of America 127, no. 2 (2012): 357–59. http://dx.doi.org/10.1632/pmla.2012.127.2.357.

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During its 2008 annual meeting at mla headquarters, the committee on the literatures of people of color in the united states and Canada (CLPC) took up the question of archival work in the study of ethnic literatures. After much discussion of the various ways ethnic literatures are rendered “illiterate” or unreadable, the CLPC proposed a session titled “Practices of the Ethnic Archive” for the 2009 MLA Convention in Philadelphia. That session revealed, and for some of us confirmed, that scholarly discourse on the archive continues, for the most part, to ignore the ethnic archive as distinct fro

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18

Bodinson, Sara. "Archive Fever: Uses of the Document in Contemporary Art." Photography and Culture 1, no. 2 (2008): 247–50. http://dx.doi.org/10.2752/175145208x373798.

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19

Vélez, Fabio. "Conjuraciones (Diario sobre "Diario de duelo" de R. Barthes)." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 19 (May 27, 2013): 153. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201319721.

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Este artículo pretende abordar las afinidades electivas entre el duelo y la escritura, a partir de dos textos Duelo y melancolía y Diario de duelo, de Freud y Barthes, respectivamente, tomando en especial consideración las perspicaces consideraciones desplegadas por Derrida en Mal de archivo. Our aim in this article is to deal with the elective affinities between mourning and writing from two texts Freud’s Mourning and Melancholia and Barthes’ Mourning Diary, taking into account the shrewd considerations putting forward by Derrida in Archive Fever.

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20

Osborne, Dora. "Mal d'archive: On the Growth of Gunter Demnig's Stolperstein-Project." Paragraph 37, no. 3 (2014): 372–86. http://dx.doi.org/10.3366/para.2014.0135.

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In Archive Fever, Derrida opens a critical perspective on the status of the trace as that which remains with his reading of Gradiva, the Pompeian fantasy woman who is supposed to have left her singular toe-print in the ash of Vesuvius. This article returns to the figure of Gradiva as emblem for the non-coincidence of origin and trace, in order to outline the (increasingly troubling) archival aspects of Gunter Demnig's Stolperstein-project, a large-scale, decentralized memorial commemorating those deported under National Socialism. Returning to the site of a missed encounter, Demnig attempts to

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21

Mishra, Vijay. "Archive fever and the genesis of secrecy in Salman Rushdie." Textual Practice 30, no. 1 (2015): 19–43. http://dx.doi.org/10.1080/0950236x.2015.1064017.

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22

Harris, Katherine D. "Marking the Body, Marking the Text: David Greetham's "Archive Fever"." Textual Cultures 9, no. 1 (2015): 1–21. http://dx.doi.org/10.14434/tc.v9i1.12876.

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23

Marcilloux, Patrice. "Deep Storage (1997), Interarchive (2002), Archive Fever (2008) : l’art contemporain et les archives dans trois rétrospectives internationales." La Gazette des archives 233, no. 1 (2014): 61–74. http://dx.doi.org/10.3406/gazar.2014.5125.

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24

Hegarty, Peter. "Harry Stack Sullivan and his chums: archive fever in American psychiatry?" History of the Human Sciences 18, no. 3 (2005): 35–53. http://dx.doi.org/10.1177/0952695105059305.

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25

Baron, Jaimie. "Contemporary Documentary Film and "Archive Fever": History, the Fragment, the Joke." Velvet Light Trap 60, no. 1 (2007): 13–24. http://dx.doi.org/10.1353/vlt.2007.0010.

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26

Vitale, Francesco. "Animal d’archive: On the Tracks of Derrida’s Writing." Philosophy Today 64, no. 2 (2020): 395–409. http://dx.doi.org/10.5840/philtoday2020428335.

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The article seeks to outline the relationship between Geschlecht III and Jacques Derrida’s published texts devoted to the mark “Geschlecht,” in order to detect the general strategy followed by Derrida in the construction of his archive during his lifetime. Indeed, we suppose that his archive has to be built in accordance with his deconstructive statements about the classical conception of the archive: a totalizing closure of a textual production able to trace it back to the unity of an ideal identity (Archive Fever). In particular, the article aims to focus on a passage at the end of Jacques D

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27

Solibakke, Karl Ivan. "The Pride and Prejudice of the Western World." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 6, no. 1-3 (2012): 261–75. http://dx.doi.org/10.1558/post.v6i1-3.261.

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The article examines controversies arising from the perception of the instruments of cultural memory and the logic of their transmissibility. On the one hand we have a carefully selected, temporally and geographically orchestrated body of texts, the Great Books, which are an enduring testament to the authority of Western intellectual artifacts. On the other hand, Jacques Derrida’s Archive Fever locates a furtive transformation of collective memory in the informal practices exemplified by oral narrative and public discourse. Not only do both models rely on archives as a functional instrument of

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28

Szalewska, Katarzyna. "Brudnopisy Tadeusza Kantora – od przestrzenności zapisków do czasowości archiwaliów." Przestrzenie Teorii, no. 31 (December 6, 2019): 93–108. http://dx.doi.org/10.14746/pt.2019.31.4.

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The article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enabl

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29

Matthews, Jodie. "‘Tsiganes on the Brain’: The ‘Last Gypsy’ as a Case of Archive Fever." Immigrants & Minorities 31, no. 3 (2013): 289–316. http://dx.doi.org/10.1080/02619288.2013.781812.

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30

Lee, Jong-Hup. "Archival Discourses on Collective Memory before-after Jacques Derrida`s Archive Fever(1995)." History & the Boundaries 109 (December 31, 2018): 453–87. http://dx.doi.org/10.52271/pkhs.2018.12.109.453.

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31

Došen, Ana. "Nobuyoshi Araki’s Archival Corpo-Rapture." AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 107. http://dx.doi.org/10.25038/am.v0i18.301.

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Nobuyoshi Araki is one of the most famous and controversial Japanese photographers, whose work amounts to several hundred publications. Over the course of nearly five decades, this prolific artist’s ‘photo-mania’ dealing with, among various subject matters, a depiction of human bodies, often eroticized and graphic, has been both celebrated and heavily criticized. Instead of contributing to those discourses of either support or disdain of his artistic vision – especially on the issue of fetishized female nudity – this paper focuses on Araki’s insatiable lust for capturing Japan’s corporeality.

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32

Johnson, Laurie. "A Ghost of a Chance, After All." Derrida Today 2, no. 2 (2009): 166–76. http://dx.doi.org/10.3366/e1754850009000505.

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Does a Postal Principle, a principle of destinerrance, hold true for computer mediated communication (CMC)? Perhaps. However, the question is not one concerning technology. Is it rather the case that we must ask, after Derrida, after all, whether destinerrance ever held true, as a principle? This paper considers the prospect that the Postal Principle was, in principle, or as a principle, an expression of a truth value from something that can not in fact, be held at all: the ghost in the machine. Drawing on a phenomenology of computer practice, the paper argues that there is greater explanatory

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33

Escolar, Marisa. "Beppe Fenoglio’s Partigiano Archive: Translation, Resistenza, Testimony." Quaderni d'italianistica 39, no. 2 (2019): 61–84. http://dx.doi.org/10.33137/q.i..v39i2.33261.

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Beppe Fenoglio’s most famous novel, Partigiano Johnny, is not actually a novel at all, but a posthumous philological reconstruction of a series of typescripts that inspired one of the fiercest Italian literary debates of the postwar period. This debate reached a fever pitch in the 1990s as Italy was coming to terms with the impact of the Resistenza on national identity. As a partisan-writer with no connections to fascism, Fenoglio long occupied a stabilizing role in the Italian literary canon, intensifying the stakes for academics who wished to “heal” the wounds of his fragmented text and use

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34

Rodríguez-Romaguera, Guillermo. "Hermetic Space As Abstraction of the Mechanisms of Censorship: Symptomatic ‘Archive Fever’ in Carlos Saura’s La madriguera." Bulletin of Spanish Visual Studies 2, no. 1 (2018): 1–16. http://dx.doi.org/10.1080/24741604.2018.1429162.

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35

Glavaš, Zvonimir. "Deconstruction and the Archival Revolution: on the Relevance and Reception of Archive Fever in New Media Studies." Poznańskie Studia Slawistyczne, no. 19 (February 23, 2021): 61–76. http://dx.doi.org/10.14746/pss.2020.19.2.

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The paper focuses on the reception of Derrida’s Archive Fever among (new) media theorists and its relevance for the ongoing discussions in that academic field. Although this Derrida’s text is often described as the one in which he provides a statement on the pervasive revolutionary impact of new media, its reception among media theorists remains scarce. Several media scholars that tackle the text, however, have an ambivalent stance on it: they appreciate some of Derrida’s theses, but regard them largely obsolete. The first part of the paper analyzes these critiques and argues that many of the

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36

Khan, Azeen. "Aneconomy, Indirection, Undecidability." differences 31, no. 1 (2020): 135–62. http://dx.doi.org/10.1215/10407391-8218802.

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This essay explores how, in each of Jacques Derrida’s late encounters with psychoanalysis, he critiques the limit of a certain economic principle of the Freudian death drive, opening up its deterministic logic to a principle of indetermination. The essay draws out three key terms—aneconomy from Archive Fever, indirection from “Psychoanalysis Searches the States of Its Soul,” and undecidability from Glas and The Death Penalty seminars—to show how Derrida suggests a move beyond an “economy of the possible,” thereby showcasing the potentiality of a properly deconstructive psychoanalytic thought.

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37

Kutash, Emilie. "Jacques Derrida: The Double Liminality of a Philosophical Marrano." Religions 10, no. 2 (2019): 68. http://dx.doi.org/10.3390/rel10020068.

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There is an analogy between two types of liminality: the geographic or cultural ‘outside’ space of the Marrano Jew, alienated from his/her original religion and the one he or she has been forced to adopt, and, a philosophical position that is outside of both Athens and Jerusalem. Derrida finds and re-finds ‘h’ors- texte’, an ‘internal desert’, a ‘secret’ outside place: alien to both the western philosophical tradition and the Hebraic archive. In this liminal space he questions the otherness of the French language to which he was acculturated, and, in a turn to a less discursive modality, autob

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38

Rošker, Anja. "Disappearing object?" Maska 30, no. 172 (2015): 174–81. http://dx.doi.org/10.1386/maska.30.172-174.174_5.

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The Live Art Almanac Volume 3 brings together various genres of texts written on live art in 2011 and 2012. The systematisation of chapters is telling since we are introduced into the book by a selection of contributions on the relation between live art and institutions which, based on works by artists such as Marina Abramović, Tino Sehgal and La Ribot, show the ambivalence of the modern age torn between the tendency to preserve and materialise the transient and the tendency towards constant continued movement. The Almanac continues with a chapter on performance art in mass media and pop cultu

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39

Mouser, Bruce L., and Nancy Fox Mouser. "A Rocky Road to Publication." History in Africa 31 (2004): 257–61. http://dx.doi.org/10.1017/s036154130000348x.

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The path to the publication of our collaborative research concerning an aspect of earliest Church Missionary Society history has been an irregular, and often despairing, one. For a time it seemed unlikely that we would ever finish our research, and that was simply the research part of it. The prospect of collaboration by husband and wife, persons trained in disciplines—history and sociology—guided by approaches seemingly opposed to each other, was not a promising one from the start. Simply put, could we cooperate, work through the processes of writing, thinking, and rewriting/rethinking within

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40

Suprayitno, Suprayitno, and Sumarno Sumarno. "ARSIP DAN RETENSI ANALISIS ISI JADWAL RETENSI ARSIP KEMENTERIAN KETENAGAKERJAAN." Jurnal Kearsipan 13, no. 2 (2019): 139–56. http://dx.doi.org/10.46836/jk.v13i2.48.

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This paper aims to find out how many records in the Ministry of Manpower's Records Retention Schedule (JRA) that are to be appraised as archival records or in regular cases having permanent value. By using content analysis method, the results of this study state that there are 177 records series (26.62%) of Ministry of Manpower's Retention Schedule which are stated as permanent. The theoretical implications are against archival theory in general which states that the number of archival records in an organization are roughly 1% to 10%. This high percentage can be attributed to Derrida's ‘archiv

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41

Lawlor, Leonard. "Memory Becomes Electra - Jacques Derrida: Archive Fever: A Freudian Impression. Translated by Eric Prenowitz. (Chicago: University of Chicago Press, 1996. Pp. 113. $17.95.)." Review of Politics 60, no. 4 (1998): 796–98. http://dx.doi.org/10.1017/s0034670500050932.

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42

Klimek-Dominiak, Elżbieta. "Resisting Invisible Women of Solidarity: Gender in American and Polish Oral History, Life Writing, Visual Arts and Film. Part I." Miscellanea Posttotalitariana Wratislaviensia 5 (June 12, 2017): 103–19. http://dx.doi.org/10.19195/2353-8546.1(5).9.

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Unlike American historians challenging the marginalization of women since the 1970s and theorizing usefulness of gender for history, the majority of Polish historians have been rather reluctant to address gender differences. The collapse of communism and transatlantic interest in retraditionalization stimulated interdisciplinary engendering of Solidarity. This article examines how significant, though strategically invisible, Solidarity women activists of the 1980s have been represented in oral history, art, and film as well as dialogical genres such as auto/biography and a relational memoir.

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43

Hayre, D. S. "23. Coley's toxin and spontaneous tumour regression." Clinical & Investigative Medicine 30, no. 4 (2007): 39. http://dx.doi.org/10.25011/cim.v30i4.2783.

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William Coley, a young surgeon at New York Memorial Hospital, was traumatized by the loss of his first patient to bone cancer in 1891. He was unable to save this young patient and she succumbed to her Sarcoma within 3 months of surgery. He searched the hospital archive to learn more about Sarcoma and discovered the case of a patient with a large sarcoma who had undergone five unsuccessful surgeries over a 3 year period. This case had been determined to be hopeless. After the last of these operations, the patient became very ill from an erysipelas infection. Coley was astonished to read t

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44

Downes, Paul. "Developing Derrida's Psychoanalytic Graphology: Diametric and Concentric Spatial Movements." Derrida Today 6, no. 2 (2013): 197–221. http://dx.doi.org/10.3366/drt.2013.0064.

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Derrida's work encompasses dynamic spatial dimensions to understanding as a pervasive theme, including the search for a ‘new psychoanalytic graphology’ in Writing and Difference. This preoccupation with a spatial text for repression also occurs later in Archive Fever. Building on Derrida, this paper seeks to develop key aspects of a new dynamic psychoanalytic graphology through diametric and concentric interactive spatial relation. These spatial movements emerge from a radical reconstruction of a neglected aspect of structural anthropologist Lévi-Strauss’ work on spatial relations prior to myt

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45

Charrel, Remi N., and Laurence Thirion. "Lyophilized Matrix Containing Ready-to-Use Primers and Probe Solutions for Standardization of Real-Time PCR and RT-qPCR Diagnostics." Proceedings 50, no. 1 (2020): 7. http://dx.doi.org/10.3390/proceedings2020050007.

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Real-time molecular techniques have become the reference methods for the direct diagnosis of pathogens. The reduction of steps is a key factor in order to decrease the risk of human errors resulting in invalid series and delayed results. We describe here a process involving the preparation of oligonucleotide primers and a hydrolysis probe in a single tube at predefined optimized concentrations that are stabilized via lyophilization (Lyoph-P&P). Lyoph-P&P was compared to the classic protocol using extemporaneously prepared liquid reagents, assaying (i) sensitivity, (ii) long-term stabil

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46

Sienko, Dean G. "Q Fever." Archives of Internal Medicine 148, no. 3 (1988): 609. http://dx.doi.org/10.1001/archinte.1988.00380030115021.

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47

Musher, Daniel M. "Q Fever." Archives of Internal Medicine 148, no. 11 (1988): 2508. http://dx.doi.org/10.1001/archinte.1988.00380110136030.

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48

CHANG, JAE C. "Neoplastic Fever." Archives of Internal Medicine 149, no. 8 (1989): 1728. http://dx.doi.org/10.1001/archinte.1989.00390080014004.

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49

Musher, D. M. "Q fever." Archives of Internal Medicine 148, no. 11 (1988): 2508b—2508. http://dx.doi.org/10.1001/archinte.148.11.2508b.

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50

Styrt, Barbara. "Antipyresis and Fever." Archives of Internal Medicine 150, no. 8 (1990): 1589. http://dx.doi.org/10.1001/archinte.1990.00040031589005.

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