Relevant bibliographies by topics / Hauntologie

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Hauntologie'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Hauntologie"

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Kuftinec, Sonja. "[Walking through a] ghost town: Cultural hauntologie in Mostar, Bosnia‐Herzegovina or Mostar: A performance review." Text and Performance Quarterly 18, no. 2 (April 1998): 81–95. http://dx.doi.org/10.1080/10462939809366214.

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Iddon, Martin. "SPECTRES OF DARMSTADT." Tempo 67, no. 263 (January 2013): 60–67. http://dx.doi.org/10.1017/s0040298212001052.

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AbstractThe word ‘Darmstadt’ has come to stand for a broad set of discursive tropes: whether positive or negative, the word is often used as a convenient shorthand for organising ways of thinking about music in the post-war era. I suggest that, after the many symbolic deaths of the avant-garde, the word Darmstadt has come to function, too, as a sort of Lacanian Name-of-the-Father, an idea which need have little to do with the father ‘proper’: rather it is a structuring principle, one which authorises and delimits the boundaries of the known, the prescribed and proscribed world. I argue, too, that the death of that symbolic father, however it becomes extended and perpetuated, surely presages rupture and collapse within the symbolic order. From this position, I examine the ways in which various spectres of Darmstadt – borrowing from Derrida's Marxian hauntologie – return, both within the world of New Music and beyond.
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Fisher, Mark. "What Is Hauntology?" Film Quarterly 66, no. 1 (2012): 16–24. http://dx.doi.org/10.1525/fq.2012.66.1.16.

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Consideration of the idea of hauntology encompassing Jacques Derrida’s introduction of the term in Specters of Marx; Fredric Jameson’s analyses of postmodernism and The Shining; and a British tradition of literature, film, and television by such authors as John Akomfrah, Alan Garner, M. R. James, Patrick Keiller, Nigel Kneale, David Peace, and Chris Petit.
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Mixon‐Webster, Jonah. "Impetus/Impetere : The hauntologies of slavery." Yale Review 108, no. 4 (November 27, 2020): 128–45. http://dx.doi.org/10.1111/yrev.13693.

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Mixon‐Webster, Jonah. "Impetus/Impetere: The hauntologies of slavery." Yale Review 108, no. 4 (2020): 128–45. http://dx.doi.org/10.1353/tyr.2020.0018.

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Girenok, Fyodor. "FROM ANTHROPOLOGY TO HAUNTOLOGY." Chelovek.RU, no. 15 (2020): 187–90. http://dx.doi.org/10.32691/2410-0935-2020-15-187-190.

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The article analyzes the modern crisis of philosophy. According to the author, this crisis consists in the fact that under the mask of objectivity lurks the enemy of thinking. What does it mean? This means that we are accustomed to rely on the principle of objectivity in the study of nature. But the turn to the study of subjectivity rejects the principle of objectivity. In this regard, the article develops the idea of hauntolo-gy. The author follows J. Derrida in believing that hauntology is more fundamental than ontology. Not being, but a specter is the constitutive authority of the human world.
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Banazek, Kerry. "from “A New Hauntology”." Colorado Review 41, no. 3 (2014): 105. http://dx.doi.org/10.1353/col.2014.0104.

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Davis, Colin. "Hauntology, spectres and phantoms." French Studies 59, no. 3 (July 1, 2005): 373–79. http://dx.doi.org/10.1093/fs/kni143.

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Lorek-Jezińska, Edyta, and Katarzyna Więckowska. "Applied Hauntologies: Spectral Crossings and Interdisciplinary Deconstructions." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard 8, no. 2 (2017): 15–23. http://dx.doi.org/10.26913/80202017.0112.0001.

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Gildea, Niall. "Also Intransitive. Mark Fisher's Hauntology." CounterText 6, no. 3 (December 2020): 401–22. http://dx.doi.org/10.3366/count.2020.0202.

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This article offers a reading of the version of Jacques Derrida's concept of ‘hauntology’ that is developed by Mark Fisher in his essay collection, Ghosts Of My Life: Writings on Depression, Hauntology and Lost Futures. The article begins by noting some salient genealogical features of Fisher's critique of Derrida, and argues that Fisher's engagement with hauntology prompts an elaboration of Fisher's thinking about Derrida which corresponds to the elaboration in Derrida's thinking which, for Fisher, hauntology marks. But it also goes on to suggest, in a manner that is intended to pay tribute to Fisher's final work, The Weird and the Eerie, that Fisher's engagement with Derrida has a weird performativity, irreducible (as always in Fisher) to mere commentary or exegesis, and having more to do, like the weird, with ‘ things which do not belong together’. Fisher's adoption of ‘hauntology’ is of particular interest because it develops from an earlier hostility to Derrida's work which was of a piece with the position of the Cybernetic Culture Research Unit (CCRU), of which Fisher was a member during its existence at Warwick in the late 1990s/early 2000s. This late, phantasmatic reconciliation between Fisher and Derrida is at once intellectually fertile and undeniably poignant.
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Dissertations / Theses on the topic "Hauntologie"

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Wright, Adam Michael. "Hauntology Man." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157557/.

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Hauntology Man, a 48-minute documentary, follows former UNT Professor, Dr. Shaun Treat, as he leads a walking ghost tour of downtown Denton, Texas. As the expedition moves from storefront to storefront, each stop elicits a new tale. But, as Dr. Treat points out, the uncertainties of history are the real ghosts. That is, rather than simply presenting a "haunted history" of Denton, it's more accurate to say this movie's center resides at the precipice of a "haunting history." Not all ghost stories need spectres. Sometimes not knowing is ghost enough.
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Riley, Mark Simon. "An aesthetics of hauntology." Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425350.

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Clanton, Carrie B. "Uncanny others : hauntology, ethnography, media." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20111/.

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This thesis presents my study of “ghosthunting”—the practice of attempting to capture ghosts, primarily using cameras and audio recorders—as a metaphorical device for the use of audio-visual media within anthropology. I conducted fieldwork with ghosthunters, paying particular attention to their attendant audio-visual media practices and outputs, in order to redress the reluctance of anthropology to a) evaluate audio and visual media as mechanisms for producing anthropological critique—although some anthropologists have taken pains to do that with writing—and b) to understand the particular "haunted" history of audio-visual media as being related to critical anthropological concerns such as representation, time, and the other. The history of the use of audio-visual media within ghosthunting follows a similar trajectory to that of anthropology, and the resultant methodologies and outputs of both disciplines function in ways that are less inclined towards discursive “speaking with others” than they are towards attempting to produce demystified representations of others. Neither practice has, in contemporary times, acknowledged the historical connection of audio-visual media to the supernatural, nor its capacity to deal with the uncanny as a critical provocation. My study of ghosthunters shows that despite attempts to reify ghosts via photography, audio, and film, those media are themselves devices that maintain the uncanny as an ethical injunction towards the other—whether as ghosts or as the cultural “other” of anthropological critique. An acknowledgement of the “haunted” origins and capacities of media allows for ethical engagements with anthropological others, ultimately suggesting critical media methodologies for anthropology that, while informed by anthropology’s “crisis of representation,” radically differ from written ethnography. Viewing the relationship of media and anthropology through the lens of Derrida’s hauntology is a useful framework for thinking about media methodologies that can stand as critique.
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Clements, Rachel Elizabeth Adelaide. "Hauntology and contemporary British political theatre 1995-2010." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529760.

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Chow, Renee Suet Ee. "Postcolonial hauntologies : Creole identity in Jean Rhys, Patrick Chamoiseau and David Dabydeen." Thesis, Cardiff University, 2009. http://orca.cf.ac.uk/54486/.

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This thesis focuses on the works of Caribbean writers Jean Rhys, Patrick Chamoiseau and David Dabydeen, specifically as they draw upon the mythic and religious beliefs and practices of the Caribbean in their constitution of individual and cultural Creole identity through textuality. The Caribbean tropes of haunting are surreptitious passageways leading to the Creole subject's struggle with the divided affiliations, cross-racial identifications and various forms of dispossession that are colonialism's legacy. As conduits to forbidden and unspoken fantasies, fears and desires, they also serve as the means of reformulating Creole identity. The study of Jean Rhys explores her agonized formulation of Creole identity as an abjection, where the self is (un)made in the nauseating identification with the black female other in the form of the hottentot, mulatto ghost and soucriant. Rhys's racialized abjection establishes Creole identity as a vacillating border state that is fraught with sadomasochistic violence and sickness. Patrick Chamoiseau uses the zombie trope to figure the loss of history, memory and language endemic to the dehumanization of Martinican man. Suppressed Creole culture becomes a part of the collective unconscious, and its uncanny return unmasks the misrecognition of white identification and serves as a strategy of disalienating opacity. Chamoiseau's Creolist manifesto is critically examined against the framework of an erotics of colonialism, to reveal the ventriloquism of the female subaltern who is made to embody the schizophrenic anxieties of the Creole male writer. David Dabydeen's work demonstrates how the family romance of the Creole migrant is erected upon the entombments of native ancestors, literary forefathers and female figures, the phantoms of which return to haunt with the anxieties of influence and the threats of disappearance and perpetual exile. His ekphrastic revisions accomplish the destabilizing and hybridizing functions of tricksterism, but also perpetuate an otherness under the guise of postmodern rewriting.
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Gómez, Gabriel Núria. "Espectropolíticas: imagen y hauntología en las prácticas artísticas contemporáneas." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/671013.

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En su libro Espectros de Marx (1995), Jacques Derrida se pregunta cómo aprender a vivir con los espectros que perviven en la cultura europea como una política de la memoria, de la herencia y de las generaciones. Para estudiar la figuración de los espectros del comunismo y del marxismo rechaza toda filosofía del ser y de aquellos que dicen saber lo que el mundo es, y conjura la «hauntología» [hantologie] como una herramienta crítica para desvelar las operaciones insidiosas de los sistemas hegemónicos de orden ontológico, teológico e ideológico. Su aproximación filosófica tiene como correlato un estudio sobre las tecnologías mediáticas que el capitalismo instaló en un mundo que ahora es global, y que el crítico inglés Mark Fisher retoma, en sus estudios sobre el movimiento nostálgico del cine y la música del post-thatcherismo, cuando abraza el giro espectral en el momento en que todo un mundo (socialdemócrata, Fordista, industrial) se volvió obsoleto, y en el que los contornos de un nuevo mundo (neoliberal, consumista, informático) empezaron mostrarse. De acuerdo con esta transformación, la tesis que sigue se interroga acerca de cuáles son los espectros políticos recurrentes en la cultura visual globalizada de nuestro presente y cuáles son las condiciones materiales de su retorno. Lejos de una comprensión del fantasma oscurantista como algo real, entendemos su presencia como un signo o una metáfora de la visión que actúa como una figura clarificadora con un potencial específicamente ético y político. En este sentido, y por consiguiente, presentamos el tropo «espectropolítica» como una hauntología visual de las formas del asedio fantasmal de la imagen tele-tecno-mediática y sus dispositivos de captura de la subjetividad humana; para dilucidar, cómo, desde el campo de las prácticas artísticas y escénicas actuales, se invocan ciertas formas de ver o visualidades críticas capaces de restituir el pasado y construir nuevos imaginarios, subjetividades y formaciones políticas en la configuración de mundos.
In his book Spectres of Marx (1995), Jacques Derrida questions how to learn to live with the spectres that survive in European culture as a politics of memory, legacy and generations. To study the figuration of the spectres of communism and Marxism, he rejects all philosophy of being and that of those who claim to know what the world is, and conjures up «hauntology» [hantologie] as a critical tool with which to unveil the insidious operations of hegemonic systems of an ontological, theological and ideological nature. His philosophical approach is correlative to a study on the media technologies that capitalism installed in a world that is now global and that British critic Mark Fisher picks up in his research into the nostalgic post-Thatcher movement in film and music, when he embraces the spectral turn at the moment when an entire world (social democratic, Fordist, industrial) became obsolete and in which the contours of a new world (neoliberal, consumerist, computerised) began to manifest. In accordance with this transformation, the following thesis analyses the recurring political spectres in the globalised visual culture of our present time as well as the material conditions of their return. Far from an understanding of the obscurantist spectre as something real, its presence is understood as a sign or a metaphor of the vision that acts as a clarifying figure with a specifically ethical and political potential. Therefore, in this sense, we present the «spectropolitics» trope as a visual hauntology of the forms of the spectral siege of the teletechnomedia image and its devices for capturing human subjectivity to elucidate how, from the field of visual and performing arts practices today, we invoke certain critical ways of seeing or visualities capable of constructing new imaginaries, subjectivities and political formations in the different worldings.
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Schofield, Michael Peter. "Aura and trace : the hauntology of the rephotographic image." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22615/.

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This research utilises and deconstructs the contemporary practice of rephotography, investigating what it can tell us about the changing ontology of the photographic artefact, in a purportedly post-medium and post-digital culture. The work uses scanned archival images, some of which have been badly damaged over time, alongside bespoke photography of the lost urban landscapes they depict, to create new digital media artworks which explore the representation of absence and the passage of time itself. These processes and their outcomes raise important questions about mediation in our digital representations of the past, about demolition and loss of cultural memory, and, most crucially for this research, they interrogate theory regarding the ontology of photography in the archive - specifically the Derridean notion that the photograph is intrinsically spectral, and that the archive is always under some form of erasure. For Derrida all media was best understood as a form of technological ghost, continually re-haunting itself as media and practices change, but traces of the past return in new forms. This spectrality was always present but was seemingly accelerated by the digital turn, even as older analogue images 'felt' more auratic and haunting. In order to understand the photographic object in these shifting contexts, a 'hauntology', rather than an ontology, will be employed, to recognise what underlies these spectral media fragments - their absence/presence, their materiality/immateriality, how they are used in modern visual culture, their potential social meaning and political significance, as a form of haunting. The practice research used two photographic archives of the same city, from the same time period (c.1900), and compared them through various deconstructions of the rephotographic form, examining closely the role played by their artefactual materiality, content and context (within both analogue and digital realms), looking for various signifiers of hauntological quality. The focus of these observations became the aura of the decaying medium, and the role this unique materiality plays in revealing the authenticity, age, absence and ultimately the spectrality of the trace. This then shifted to a wider consideration of how these 'analogue' surface features can become fetishized and simulated within various hauntological practices based on the digital archive, at a time of ongoing analogue revival and returning notions of medium in the arts. Alongside this written thesis the practice produced two other major research outputs: a photo book entitled A Window on Time, and a site-specific installation piece called The Remote Viewer.
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Henriksen, Line. "In the Company of Ghosts : Hauntology, Ethics, Digital Monsters." Doctoral thesis, Linköpings universitet, Tema Genus, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-127021.

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This thesis explores French philosopher Jacques Derrida’s ’hauntology’ through the lens of digital monsters and feminist theory. Hauntology – a pun on ‘ontology’ and ‘haunting’ – offers an ethics based on responsibility towards that which cannot be said to fully exist, yet has an effect on our everyday lives nonetheless. Like the figure of the ghost, such undecidable existences are neither absent nor present, here nor gone, of the past or the future. In other words: they haunt. By engaging with hauntology through contemporary stories of digital monsters – such as The Curious Case of Smile.jpg, Welcome to Night Vale and Mushroom Land TV - the thesis discusses how such troubling hauntings might be imagined, and what it means to think an ethics based on responsibility towards the undecidable. In this way, the thesis brings together hauntology and digital media, arguing that thinking with and through the figure of the ghost as well as the digital monster may lead to different and critical ways of imagining both the world and ethics. In short, drawing upon feminist theory and creative writing, the thesis maps out a relational ethics of hauntings and internet story-telling.
Denna avhandling utforskar den franske filosofen Jacques Derridas ’hauntologi’ genom digitala monster och feministisk teori. Hauntologi - en ordlek på ontology och haunting - erbjuder en etik som bygger på ansvar gentemot det som inte kan sägas helt existera, men ändå har en effekt på vårt dagliga liv. Liksom figuren ’spöket’ är sådana obestämbara existenser varken frånvarande eller närvarande, här eller borta, i det förflutna eller framtiden. Med andra ord: de hemsöker. Genom analyser av samtida berättelser om digitala monster - som The Curious Case of Smile.jpg, Welcome to Night Vale och Mushroom Land TV - diskuterar avhandlingen hur sådan oroande hemsökelser kan bli föreställda, och vad det innebär att tänka en etik baserad på ansvar gentemot det obestämbara. På detta sätt sammanför avhandlingen hauntologi och digitala medier ihop för att argumentera att akten att tänka med och genom spöket som figur och det digitala monstret kan leda till annorlunda och kritiska sätt att föreställa sig både världen och etik på. Avhandlingen bygger på feministisk teori och kreativt skrivande för att utforska en relationell etik baserad på hemsökelser och internet-berättelser.
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Simon, Bart. "Post-closure cold fusion and the survival of a research community : an hauntology for the technoscientific afterlife /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9917956.

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Cloutier, Geneviève. "An A/r/tographical Inquiry of a Silenced First Nation Ancestry, Hauntology, G(hosts) and Art(works): An Exhibition Catalogue." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31797.

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As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry as I look towards the intergenerational narratives of my grandmother, mother, and I. As I employ the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography, as I draw on works which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal g(hosts) in spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise.
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Books on the topic "Hauntologie"

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Shaw, Katy. Hauntology. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74968-6.

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Lorek-Jezińska, Edyta. Hauntology and intertextuality in contemporary British drama by women playwrights: Hauntologia i intertekstualność w twórczości współczesnych dramatopisarek brytyjskich. Toruń: Nicolaus Copernicus University Press, 2013.

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Rahimi, Sadeq. The Hauntology of Everyday Life. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78992-3.

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Coverley, Merlin. Hauntology. Oldcastle Books, Limited, 2020.

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Tweedie, James. The Hauntology of the Cinematic Image. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0002.

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Beginning with the belated rediscovery and canonization of the work of Walter Benjamin, this chapter considers the close relationship between his writing from the 1920s and 1930s, when he was most active as a critic, and the late twentieth century. It suggests that Benjamin’s standard position in film theory—as one of the most forceful advocates for a radical modernism closely allied with cinema—corresponds to just one of many positions he adopted throughout his career and contradicts the argument that the ruins of modernity remain a source of utopian potential even after their apparent obsolescence, a position advanced in his book on the Baroque mourning play, his fragmentary Arcades Project, and elsewhere. This chapter suggests that Benjamin’s work on the mourning play and allegory constitute the basis for his continued relevance to media studies in the late twentieth century, especially as a belated but prophetic contributor to debates about the end of history or cinema.
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Coly, Ayo A. Postcolonial Hauntologies: African Women's Discourses of the Female Body. University of Nebraska Press, 2019.

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Coly, Ayo A. Postcolonial Hauntologies: African Women's Discourses of the Female Body. University of Nebraska Press, 2019.

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Postcolonial Hauntologies: African Women's Discourses of the Female Body. University of Nebraska Press, 2019.

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Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books, 2014.

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Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books, 2014.

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Book chapters on the topic "Hauntologie"

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Shaw, Katy. "Introduction. Hauntology: Ghosts of Our Lives." In Hauntology, 1–23. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74968-6_1.

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Shaw, Katy. "Chapter 1 The (Spectral) Turn of the Century in Simon Armitage’s ‘Killing Time’ (1999)." In Hauntology, 25–42. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74968-6_2.

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Shaw, Katy. "Chapter 2 Phantasmal Intertexts: Literary Spectrality in Jez Butterworth’s Jerusalem (2009)." In Hauntology, 43–58. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74968-6_3.

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Shaw, Katy. "Chapter 3 ‘Ghostpitality’: Specters of the Self in Zadie Smith’s NW (2012)." In Hauntology, 59–81. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74968-6_4.

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Shaw, Katy. "Chapter 4 Authorial Afterlives: Ghost-writing in David Peace’s PATIENT X (2018)." In Hauntology, 83–103. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74968-6_5.

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Shaw, Katy. "Conclusion. ‘In Return’: Towards a Hauntology of Twenty-First Century English Literature." In Hauntology, 105–10. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74968-6_6.

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Punter, David. "Hauntology." In Modernity, 83–85. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-05030-4_8.

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Psaras, Marios. "Alps: Of Hauntology." In The Queer Greek Weird Wave, 155–84. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40310-6_6.

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Hoosain, Shanaaz, and Vivienne Bozalek. "Hauntology, history and heritage." In Post-Anthropocentric Social Work, 210–21. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Routledge advances in social work: Routledge, 2020. http://dx.doi.org/10.4324/9780429329982-20.

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Yeung, Heather H. "The Hausvater’s Lyric Hauntology." In On Literary Plasticity, 73–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44158-6_4.

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Conference papers on the topic "Hauntologie"

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Gatehouse, Cally. "A Hauntology of Participatory Speculation." In PDC '20: Participatory Design Conference 2020 - Participation Otherwise. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3385010.3385024.

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Kolganov, Artyom. "The Figure of Cyborg as ‘Political Hauntology‘." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.14.

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