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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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Cheang, Kai Hang. "Examining the Literature of Resistance: The Politics and Poetics of Chinese American Identity in the Works of Frank Chin and David Henry Hwang." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/996.
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In my thesis, I argue "against the grain," asserting that the war over authenticity among first-wave and second-wave-Asian-American writers is in fact a red-herring argument. The diversity within Asian American literature--be it nationalist, multiculturalist, or globalist--is initiated by a subversive kernel borne out of Asian American writers' frustration at the manner in which Asians had, up until now, been portrayed in popular culture. This thesis will pay particular attention to how Chinese American writers, namely Frank Chin and David Henry Hwang, contest the emasculated stereotype of Asian American identity by reclaiming historical agency, demanding representational authenticity, and urging for political equality in their literature. Following a discussion of Charles Taylor's location of the originality of identity in dis/re-covery, this thesis will commence with a Freudian and Benjimanian analysis of history in Chin's Donald Duk (1991) and Hwang's Golden Child (1996). This thesis then examines the role of Chinese literature in the composition of Chinese American literature, especially in Donald Duk, Gunga Din Highway (1995), FOB (1983), and Dance and the Railroad (1983). I ascertain that the similarities/differences yielded between the "ur-myth" of Guan Gong, a general warlord who served under Liu Bei during the Three Kingdoms era, and the Asian American depictions of Guan symbolically indicate Chin and Hwang's political beliefs on how Asian American literature should be interpreted in a post-civil-rights-movement era. To continue exploring the matrix of Asian American identity in a multicultural context, I contend that post-hyphenated identity is a conscientious performance of self by drawing on Chin's The Chickencoop Chinaman (1972) and Hwang's Yellow Face (2009) as examples.
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Montgomery, III Erwin B. "Specters of Marks: Elements of Derridean Hauntology and Benjaminian Politico-Historical Eschatology in Frankenstein, Heart of Darkness, and The French Lieutenant's Woman." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194105.
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The present work explicates the concept of "the messianic" as it figures in the work of Jacques Derrida and Walter Benjamin in order to establish the foundation of a useful (and, one hopes, potentially innovative) critical approach to the works of Mary Shelley, Joseph Conrad, John Fowles, as well as to novelistic fiction generally. This foundation rests on a common quality of the messianic as it figures in Derrida and Benjamin's respective corpora. In their conception the messianic refers not to some individual of divine, semi-divine, or even mortal origin who is charged with functioning as the world-historical agent by whose deeds history itself comes to an end, and a new holy, paradisiacal order is thereby founded, but to the aspirational tenor to humankind's orientation to futurity. The messianic finds expression in the myriad instantiations of human beings' future-oriented activity. As such, it achieves a sort of spectrality--or, to borrow the term Marx applies to the commodity, a phantom-like objectivity--having a somewhat intuitive apprehensibility, if in fact not form or substance.Novelistic fiction, which exploits its own spectrality in a bid for arranging impossible arrangements, realizing impossible realities, ordering impossible orders, attempts to occupy an impossible-to-occupy space between on one hand, the catastrophic present and the messianic future, and on the other hand, the future to come and the future as it is wished to be. Wracked by the tension created by its allegiance to chance, the contingent, and the aleatory on one side, and to the deterministic, the necessary, and the climactic or teleological on the other side, novelistic fiction achieves its particular character precisely through pursuit of its abortive program, just as humanity achieves its character, to the extent that such a notion is legitimate, precisely through its abortive program, which is nothing more no less than survival, than living on.
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Danowski, Christopher. "The medium and the message : Afro-Cuban trance and Western theatrical performance." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/9512.
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The Medium and the Message investigates the incorporation of Afro-Cuban trance techniques in Western theatrical performance. Through art practice and research, I am asking two questions: how do performers, trained in Western theatrical contexts, articulate their experience with Afro-Cuban trance techniques? And how can my research methodologies illuminate the inherent intercultural tensions in ways that are productive for performance practitioners and theorists? To answer these questions, I created four new works of theatrical performance where I developed a method for performers, utilizing Afro-Cuban rituals adapted for non-practitioners. Working toward a phenomenological understanding of what is happening when a performer incorporates a character, I drew on the ritual knowledge of trance possession in Lukumí and Palo Monte in order to examine how ontologies might speak to each other in artistic practice. I also served as advisor for the creation of a fifth work in order to test the method outside of my studio. I constructed a studio practice methodology, called kanga (from the Bantu for tying and untying), using three methods based on aspects of Afro-Cuban ritual, and modified for performance contexts: spell, charm, and trance. This methodology enacts and complicates distinctions between performance and ritual, serving as a contribution to respectful and responsible intercultural performance practices. My research-led practice includes autobiographical writing and auto-ethnography under a phenomenological research methodology that uses three methods for data collection: formal recorded interviews, video footage of the studio work, and regular rehearsal debriefings. The overall methodology, bridging theory and practice, is bricoleur, drawing from ethnography, psychoanalytic theory, and phenomenology. Both research and studio work led to the articulation of a state of consciousness in performance that I call hauntological. This borrows from Derrida (1994: 10) but is redefined to refer to a state of being where reality is co-constituted by the living and the dead, where ancestral spirits are invoked to do the work once reserved for characters. Finally, this led to the construction of a creative artifact called The Ghost Lounge, an art work that evokes a hauntological state of consciousness in the viewer.
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Root, Trevor James. "Keel sentence sin tax." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1595249808698181.
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Phillips, Esther P. "Ghost Tree Social." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/829.
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GHOST TREE SOCIAL tells a coming out story of sorts. In terms of style, many of the poems are short, imagistic lyrics, though some are extended catalogues. Specific natural images—lakes, rivers, and snow—are often contrasted with cultural markers. The imagistic poems are thinking through the work of Sylvia Plath. The catalogue poems shift between diaristic, narrative, and critical modes, responding to the poetry of Elizabeth Bishop and the essays of Edouard Glissant.
Voice-driven fragments disrupt the more traditional lyric poems. The fragments fall between formal lyrics like confetti from a gay club’s rafters; or the fragments hold the lyric poems in bondage. The lyric poem then re-signifies as form through resonances with the other discursive and poetic form of the fragment. Following critical writers such as Adrienne Rich and Audre Lorde, the re-signification of lyric form reflects the need for new signs for self and community organized queerly as opposed to more typical binary categories—man or woman, living or dead, rich or poor, white or black—where the first term is privileged and the second term often denigrated.
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Ortega, Schelin Sean Harry. "Does This Mix Sound “Trve” To You? : Authenticity, Retro Culture and Metal Mixes." Thesis, Högskolan Dalarna, Institutionen för kultur och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37643.
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Despite the rapid development in technology that enables metal music producers today to create “perfect” sound mixes, many bands, artists and producers choose to make their creations sound old or “retro”. A song is created for this study and mixed in two different ways, one with a more“retro” direction and the other with a more “modern” direction. Five respondents were then made to listen to both mixes and were interviewed on what they thought of each respective mix and why they think retro culture is so prevalent today. The data gathered from the interviews show that the respondents describe retro mixes as dirty, saturated and raw while they described modern mixes as clean, hi-fi and overly compressed. The respondents associate old sounding mixes to authenticity, genuinity and honesty but don’t describe modern mixes as fake or dishonest. The respondents comment that the streamlined nature of music production today leads to very uniform sounding mixes and the abundance of similar sounding mixes creates a demand for more honest, authentic and genuine music. The respondents claim that retro culture would not be possible without the aid of modern technology.
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Kerr, Darin Douglas. ""The Idea Of Beauty In Their Persons:" Dandyism And The Haunting Of Contemporary Masculinity." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431098722.
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Stahle, Anna. "Hertig Karls målningar. : Den esoteriska bildtraditionens diskurs och tillämpningar inom samtidskonsten." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-102100.
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Uppsatsen syfte är att undersöka en esoterisk bildtradition som en separat bildvetenskap utifrån en diskursanalytisk metod. Frågan ställs hur denna bilddiskurs formerats, om vi kan identifiera en särskild estetik och hur vår bild av den har tillkommit. Uppsatsen undersöker här omgivande narrativ och utsagor. Vidare undersöks samtidskonstens intresse för den esoteriska bildtraditionen där historiska material aktualiseras i nya kontexter, men även dess intresse för aktualisering av en historisk estetik i nya verk. Som utgångspunkt i undersökningen står tolv målningar funna i frimurarordens arkiv för drygt tio år sedan, troligtvis gjorda av hertig Karl, senare kung Karl XIII, och som var en del av den esoteriska krets vid Stockholms slott som hertigen underhöll. Uppsatsen undersöker hur vi utifrån ett samtida perspektiv kan se på dessa målningar som en del av en historisk esoterisk bildtradition men även som rekontextualiserade idag. Vidare undersöks olika begrepp för hur temporaliteter kan skapas och verka när en estetik fortlever oberoende av tid och plats. Undersökningen visar att det historiska textuella material som ligger till grund för de esoteriska bilderna är centralt för hur denna estetik har utvecklats och överlevt. Vidare visar undersökningen att denna estetik genom sin fortlevnad i samtiden kan identifieras som ett ikoniskt tecken för esoterismen.
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Biggs, Jeremy. "The Ideological Transformation of the Icon Chairman Mao during the Four Modernisations period : As illustrated by "Melody of Youth, Beautiful Soul"." Thesis, Högskolan Dalarna, Kinesiska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-23243.
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After Chairman Mao's death, in the late 1980's, Mao was removed from official government communications and his iconography transformed from having a specific meaning generation role linked to Maoist ideology, to becoming available for use as a commodity. In this research I use cultural theorist Jacques Derrida's theory of Hauntology and the deconstruction method to analyse a representative Chinese Propaganda poster, "Melody of Youth, Beautiful Soul", in order to ascertain the effect Mao's death had on the Iconography of Chairman Mao, and how Mao is ideologically transformed during this period. Analysing the painting I found specific symbols associated with the iconography of Mao that had been adopted and transformed for the purposes of the CCP. These symbols both suggested the presence of Chairman Mao, as well as negated that presence through being co-opted for other purposes. Using these symbols and writings about the period I deduced that during this period the CCP had to rely on existing symbols of power and authority in order to communicate and legitimise regime change whilst maintaining the semblance of continuity. At the same time they had to decouple these symbols from their original meanings in order to distance themselves from the past and redefine the ideology of China. In the process, Mao's iconography was decoupled from its Maoist ideological heritage and transformed into abstract symbols of power, doctrine and so on. This means that the transformation had made them available to use as an "open basket" into which new, related meanings could be placed – including serving as a commodity.中文摘要:毛主席是中国历史上最有名的文化偶像之一。他的思想是中国共产党的根本基础。作为一个偶像，毛泽东在中国现代文化中是一个很重要的象征意义成分，代表着权力、中国共产党、毛泽东思想等等。 在八十年代，当毛主席死后，毛泽东作为偶像在宣传画中逐渐消失，同时也被商品化了。为了解释毛泽东作为文化偶像的影响,以及毛泽东思想在此时期的转变，本文会运用文化理论家雅克·德里达的?幽灵学?（Hauntology)和解构主义学的方法，对一具代表性的宣传画《青春的旋律，优美的心灵》进行分析。 通过分析，我们可以发现一些与毛主席有关的符号,例如：书，原子符号，光等等。这些与毛主席有关的符号，为了满足中国共产党的宣传目的，已经被转变了。而由于这些符号与毛主席有关，它们便意味着毛主席仍存在于文本中，但是因为这些符号被转变了，他们也意味着毛主席在文本中的缺席。 分析这段时间所使用的这些符号，以及阅读关于?四个现代化?的文章， 我发现，在?四化?时期，为了传达政权转换的合法性，以及保持其政权连续性的假象，不得不依靠已经存在的政治符号。同时为了把实用主义放在政治理论的核心中， 他们也要从旧的思想限制中解放出来，所以他们需要把某些与毛泽东有关的符指从符征里分离出来。 在过程中，偶像毛泽东转变成一种开架商品，各种意识形态都可以藉由毛泽东来贩卖。
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Trafton, John. "Genre memory in the twenty-first century American war film : how post-9/11 American war cinema reinvents genre codes and notions of national identity." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3583.
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In this thesis, I argue that twenty-first century American war films are constructed in dialogue with the past, repurposing earlier forms of war representation by evoking the visual and narrative memory of the past that is embedded in genre form—what Mikhail Bakhtin calls 'genre memory.' Comparing post-9/11 war films with Vietnam War films, my project examines how contemporary war films envision war's impact on culture and social space, explore how war refashions ideas about race and national identity, and re-imagine war's rewriting of the human psyche. My research expands on earlier research and departs from traditional approaches to the war film genre by locating the American Civil War at the origin of this genre memory, and, in doing so, argues that nineteenth century documentation of the Civil War serves as a rehearsal for the twentieth and twenty-first century war film. Constructed in explicit relation to the Vietnam film, I argue that post-9/11 war films rehearse the history of war representation in American culture while also emphasizing the radically different culture of the present day. Rather than representing a departure from past forms of war representation, as has been argued by many theorists, I show that contemporary American war films can be seen as the latest chapter in a long history of reimagining American military and cultural history in pictorial and narrative form.
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Pecastaing, Sandy. "Poe et Baudelaire : pour une hantologie du texte." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00997440.
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Hantologie - terme composé, formé par Jacques Derrida - signifie : " ontologie (c'est-à-dire, science de l'être) de ce qui "hante" : les spectres, les fantômes " (Charles Ramond, Le Vocabulaire de Jacques Derrida). Le néologisme derridien est une paronomase, le paronyme d'un mot - ontologie -, dont il n'est pas un synonyme. L'hantologie est une " " catégorie [...] irréductible, et d'abord à tout ce qu'elle rend possible, l'ontologie, la théologie, l'onto-théologie positive ou négative ", écrit Jacques Derrida (Spectres de Marx). C'est une ontologie, l'ontologie de l'être du non-être et du non-être de l'être, de quelque chose ou quelqu'un qui " n'est pas là ", " comme tout fantôme digne de ce nom " (Ibid.). " Il n'y a pas de Dasein du spectre mais il n'y a pas de Dasein sans l'inquiétante étrangeté, sans l'étrange familiarité (Unheimlichkeit) de quelque spectre " (Ibid.) Il n'y a pas d'ontologie, donc, sans hantologie. Appliquée à l'étude des textes, l'hantologie derridienne n'est pas une nouvelle méthodologie de l'analyse littéraire. Elle vise moins à définir un texte qu'à se demander, d'abord, quelle question nous posons lorsque nous demandons : qu'est-ce qu'un texte ? S'agit-il d'une question d'ordre ontologique ? phénoménologique ? En demandant : qu'est-ce qu'un texte ?, nous disons déjà que le texte est quelque chose, quelque chose dont nous sentons bien qu'il n'est pas qu'une chose. Qu'il soit un objet, d'ailleurs, cela n'est pas sûr, et s'il l'est, il reste à savoir pourquoi et comment. Il l'est, si l'on souscrit au discours du structuralisme. Il ne l'est plus, si l'on adopte la définition barthésienne du texte comme productivité. L'hantologie du texte n'est pas un simple catalogue des fantômes de la littérature. Elle consiste surtout à étudier les hantises de l'écriture et de la lecture - les mots fantômes notamment (anagrammes, palindromes, etc.) et les textes fantômes (hypotextes, intertextes). C'est une recherche attentive au procès de signifiance du texte, appropriée aux œuvres de Poe et de Baudelaire, et dont la proposition critique est elle-même déductible de leurs créations. Notre thèse cherche à mettre en évidence les possibilités d'une telle déduction à travers des études comparées de leurs œuvres littéraires, poétiques, traductions de Poe par Baudelaire comprises, en portant une attention toute particulière aux figures et motifs de la revenance, à la problématique de l'image et du langage, laquelle intègre les questions de traduction (copie, fidélité à la lettre ou à l'esprit de la lettre, etc.).
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Orr, Celeste E. "Exorcising Intersex and Cripping Compulsory Dyadism." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37597.
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Using hauntology as a linchpin, this dissertation explores the undertheorized connection between intersex and disability. Building on important feminist research in the fields of intersex, queer, disability, crip, and hauntology studies, I ask, how do we understand and reconcile the contested meanings, responses to, and effects of intersex? Intersex is “a perpetually shifting phantasm” (Holmes 2002: 175), yet intersex is typically represented and treated as innate disorder, disability, or disease by medical professionals. That said, many intersex people appear to distance from disability. By engaging intersex studies with feminist disability and crip theories, however, I demonstrate that an intersex politic and intersex studies must be rooted in a disability politic and disability studies.
Through a feminist disability and crip lens, I conduct a textual and critical discourse analysis of three case studies of interphobic violence or, what I term, “compulsory dyadism,” meaning the instituted cultural mandate that people cannot have intersex traits or house the “spectre of intersex” (Sparrow 2013: 29); such a spectre must be exorcised. The three case studies include nonconsensual medical interventions, sport sex testing, and employing reproductive technologies to select against intersex variations. My analyses of these case studies produce three important observations. First, intersex is presently and effectively being integrated into conventional notions of disability; second, ableist logics underpin interphobic violence; and third, compulsory dyadism is intertwined with, or is an iteration of, compulsory able-bodiedness. In recognizing this interconnection, theorizing intersex and disability together is not merely beneficial, doing so is necessary. Ultimately, my dissertation interrogates and extends questions of the ever-shifting categorization of body-minds, culturally mandated ways of being, and (the haunting effects of) pathologization. I apply pressure to the academic field of intersex studies as well as intersex activist and advocate communities to center disability in discussions concerning intersex human rights and interphobia.
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Tierney, John. ""Plunged Back with Redoubled Force": An Analysis of Selected Fiction, Non-Fiction, and Poetry of the Korean War." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396829149.
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Lehnert, Matthew R. "Ghost Hunting and A Moroccan Forest: a geography of Madness." University of Toledo / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1372856199.
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Björklund, Ingrid. "Momma & Mormor : Berättelsen om Fridhem." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7829.
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I mitt projekt utvecklar jag konstnärliga designmetoder för att studera, samla in och berätta om kvinnohistoria och interiörhistoria, inspirerat av feministiska och queerteoretiska perspektiv på temporalitet, identitet, historia, material och berättande. Mitt examensarbete utgår från min 90-åriga mormors berättelser om sina barndomsminnen av hennes två mormödrar ‘Momma’ och ‘Mormor’ och hur det var att spendera somrarna på deras gård, Fridhem. I formgivning av bordet Fridhem, tavlan Systrar på gungbräda i trädgården, installationen Flytande fragment och installationen av dessa under Konstfacks Vårutställning 2021 tillsammans med ljudverket Minnen från Momma och Mormors Fridhem, manifesterar jag studierna och berättelsen.
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Del, Pozo Ortea Marta. "Soldados de Salamina: Terapias Para Después de una Guerra." 2007. https://scholarworks.umass.edu/theses/783.
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According to Jung, the individuation process is a spiritual transformation through which the individual attains the maturity of his personality. This process requires the incorporation of subconscious material to the conscious life. The unconscious, though personal, is according to the famous psychologist full of images and archetypes that conform what Jung called the “collective unconscious”, which transcends the personal and expands inter-culturally through time and space. This is the perspective used in the present study of Soldados de Salamina (2001), a novel by the Spanish writer Javier Cercas. The hero of this story that combines fiction and reality travels from the present time into the past of his country, the Spanish Civil war, with the purpose of understanding. This immersion in time parallels another one in his psyche through which he deepens into the collective unconscious of the Spanish people. As a result, we have the vital, spiritual and psychological voyage of a man that stars the narration from a chaotic state to finally emerge innerly renovated and mature. By virtue of this transformation, we witness the hero’s process of individuation. Soldados de Salamina returns to the mystery of the ix unconscious and becomes the narration of a voyage of a human being from his deepest psyche, both as a universal and a particular man, towards his conscience. Comprehension is ultimately the engine of a novel that revisits the Spanish past in order to heal inner wounds.
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Polonyi, Eszter. "Ghost Writer: Béla Balázs's Hauntology of Film." Thesis, 2017. https://doi.org/10.7916/D8VM4QJC.
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The Hungarian-born Béla Balázs was an integral part of the film and media culture of the 1920s and 1930s. He is widely recognized as the author of three books of film theory. The three books are regularly excerpted in anthologies, two of them recently appeared in English translation (the third was translated in the 1952), and they have been the subject of several article-length studies. Few treatments of Weimar film and media fail mention them, even if only in passing. As unavoidable as Balázs has become, his books rarely withstand close analysis. Scholars tend to discuss his work in order to demonstrate the limits of “early” statements on film and often use Balázs as a foil to other, more conceptually mature film theorization. As a film theorist, Balázs did not amount to much. Still, no one has ventured an alternative lens through which to understand this seminal figure.
This dissertation treats Balázs from the viewpoint of film production. While posterity has looked to Balázs to establish coherence within our conception of “classical” film aesthetics, his contemporaries had other reasons to read his work. During the 1920s, Balázs collaborated with several of the practitioners responsible for making the most definitive films of the Weimar era. He worked on approximately two dozen sets during this decade. His opinion was sought out by major production companies. His name was recommended for a range of genres. The films on which he worked had afterlives in remakes. He was invited to film schools, research labs and film congresses. Because of his skill set, Balázs was often brought in at pivotal junctures in film production. More than once his intervention rescued a film from financial ruin or censorship. The prominent name Balázs made for himself was made on the ground and in the film studio.
The skills Balázs brought to the studio were related to his practice as literary author. The first chapter of the dissertation demonstrates that English-language scholarship has consistently ignored Balázs's literary work. Reviewing his reception within the discourse of the history of early film theory and Area Studies, it proposes that Balázs continued to self-identify as “author” [Filmautor] with reference to his function in the film industry. It ends by introducing the aspect of film production to which Balázs arguably most contributed: the film scenario. The second focuses on the scenario. Spanning the decade during which the scenario formally emerged as an operational document, Balázs's work proved invaluable to the German film industry as it introduced a bird's eye point of view from which total control could, in principle, be asserted. In practice, however, the command the scenarist had over the image was nominal, as Balázs experienced repeatedly when encountering the final version of his film. The scenarist's lack of authority is demonstrated in the legally ambivalent status of their claim to the film, as demonstrated by a discussion of Berthold Brecht's copyright dispute over Balázs's co-authored adaptation of his Threepenny Opera play. As with Brecht, Balázs's point of view as author gave him a false impression of command over image production. No matter how meticulous his plan for the film, the image on screen inevitably differed from his imagined version.
Balázs's film aesthetics must be read with reference to his work as scenarist. Balázs repeatedly stresses that the film image is embodied. The last two chapters investigate the significance of the female body to this conception of film. One chapter responds to a crucial insight by the historian Erica Carter who proposes to read his books with reference to the phenomenon of the New Woman, a figure of emancipation she finds among his literary colleagues and partners. Broadening the range of work surveyed to include his literary and theatrical production in Hungarian, the chapter argues that while Balázs often forged literary partnership with women, he treated then not as equals so much as vessels, mediums of material surfaces for his intellectual and aesthetic expression. The brutal disregard Balázs had for his female partners is demonstrated in the final chapter with a close reading of a film scripted by Balázs, Miss Else (1929). Miss Else was the final film in a series of collaborations between Balázs and the Austrian actress Elisabeth Bergner. The film is a psychological portrait of a young woman who is emotionally and mentally destroyed by a set of instructions she receives in a telegram. Hit by a sudden bout of “hysterical” voicelessness, Else is demonstrated to mimic the condition of the silent film actress whose ability to act is destroyed by the fragmentary narrative format of the scenario.
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Brubacher, William. "A Hauntology of Sheila Watson's The Double Hook." Thèse, 2019. http://hdl.handle.net/1866/23722.
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Ce mémoire est une lecture hantologique du roman The Double Hook de Sheila Watson. Une telle lecture accorde une importance particulière aux fantômes et aux spectres qui se trouvent dans un texte ou qui le hantent. La hantologie étant un mouvement de pensée introduit par Jacques Derrida dans Spectres de Marx, cet ouvrage de Derrida se veut à la fois un point de départ et un site important de mon analyse auquel je retourne tout au long de ce mémoire. De plus, à travers les écrits de plusieurs spécialistes de la littérature canadienne-anglaise tels que Marlene Goldman, Margaret Turner et Cynthia Sugars, ce mémoire explore ce que le roman de Watson permet de découvrir à propos de ce qui hante l’imaginaire collectif canadien. Dans une première partie de ce mémoire, je concentre mon analyse sur les spectres textuels qui hantent les pages du roman de Watson. Les mythes autochtones, les récits chrétiens, les conventions du ‘Western’ et du roman régional, ainsi que les traces de plusieurs textes modernistes, semblent hanter la structure du roman et l’utilisation du langage qui crée l’histoire présentée par Watson. Dans le deuxième chapitre de ce mémoire, mon analyse se tourne vers les fantômes et les personnages fantomatiques qui existent dans le monde fictionnel créé par Watson. Les personnages tels que la mère de la famille Potter et Coyote sont fréquemment associés aux tropes du gothique et lus comme étant des spectres et ce sont de telles lectures qui ponctuent mon analyse de cet important roman.This thesis consists of a study of haunting, both at the textual and fictional level, in Sheila Watson’s The Double Hook. In this hauntology of the novel, I explore the texts and cultural archetypes that haunt Watson’s novel as well as the ghosts, spectral figures, and haunting spaces and places represented in the novel. The theoretical movement of hauntology introduced by Jacques Derrida in Specters of Marx is a fundamental work in contemporary studies of the tropes of the Gothic and of a more generalized haunting that threatens notions of stability in our understanding of existence. Moreover, the haunting figures and texts in Watson’s novel subvert the heterogenous conception of a national discourse in Canada. The insights provided by scholars such as Marlene Goldman, Margaret Turner, and Cynthia Sugars, who are concerned with what Watson’s use of spectral figures in her narrative accomplishes in relation to writing the settler-colonizer nation of Canada, contribute to informing my argument about the place Watson’s novel occupies in the Canadian collective imaginary. In the first chapter of this thesis, I focus on the textual hauntings in the pages of Watson’s novel. Indigenous myths, Christian rituals, conventions of the western and regional novel, and modernist texts haunt the novel’s structure, content, and the language that constitutes it. In the second chapter of this thesis, I direct my attention towards the haunting and haunted figures that exist in the world created by Watson. In both chapters, my goal is to converse with the specters I see in the novel, to give a voice to what is not explicitly said and to find what lies between the fragments of Watson’s experimental prose.
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Tsai, Chih-Ning, and 蔡之甯. "Specters and the City: Derridean Hauntology in the Poetry of Frank O'Hara." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/4v6ahy.
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碩士國立臺灣師範大學
英語學系
105
This thesis is an attempt to probe how Derridean hauntology can provoke a reconsideration of the effect of presence in Frank O’Hara’s aesthetics of the present. The critical end that such an attempt seeks to arrive at is two-fold: first, the study approaches and examines the deconstructive force that Derrida’s philosophization of death and specter exerts through the aesthetics of the present Frank O’Hara performs. Second, it reconsiders the problem of absolute presence in such aesthetics with Derridean hauntology as a catalyst which actively provokes a philosophical problematization of the notion of immediate presentness. The thesis is composed of three main chapters. Chapter 1 offers an examination of Jacques Derrida’s thematization of hauntological discourse. Such an examination first explores how the notion of the specter is developed out of and serves as an extension of Derrida’s earlier philosophization of differance; and it further investigates the deconstructive force of the hauntological spectrality and its interrelated philosophical themes, namely, originary death (the thanatographical) and mourning, upon which Derridean hauntology rests. The second part of this chapter introduces Frank O’Hara’s poetics of the present and proposes how it can be complicated by the Derridean hauntological perspective; O’Hara’s radicalization of the immediate presentness, which is performed through the poet’s simultaneous ephemeralization and eternalization of the here-and-now, is in fact predicated upon the thanatographicality of writing and thus does not solidify the immediate self-presence but may only lead toward a sense of radical absence, the loss of presence and the presence of loss. The eternalized present(s) belongs to a spectral spatiotemporal domain as the work of mourning itself, a form of surviving and living-on, which has always already engaged in the politics of death. Chapter 2 thus embarks on a further investigation of O’Hara’s poetics of the present as a form of photo-thanato-graphy through Derrida’s contemplation on the notion of death and spectrality in photography and the archive. The presentness of the “scenes of immediacy” which O’Hara creates in order to achieve a radicalization of immediate presence (including the capturing of the instant and the employment of eternal present tense) is in fact pre-inscribed by a thanatographical and spectral temporal structure of death. What the poetics of the present presents is thus always already the originary spacing of the absolute presentness and its eternal spectral return. Chapter 3 first discusses how O’Hara further radicalizes the absolutely singular immediate self-presence through the highly autobiographical use of proper nouns; and it then illustrates that such autobiographicality, if observed through Derrida’s thematization of the auto-hetero-thanato-biography, is always already undercut by a sense of alterity and thus can only point toward a process of self-detachment. Extending the notion that the auto is always already pre-inscribed by the hetero which opens up a crypt within the autobiographical selfness, the later part of this chapter further argues that the presence of the autobiographical “I-ness” in O’Hara in fact suggests the divisibility and erasure of the self, which paradoxically makes possible the writing of the self. The immediate “I” has to be inaugurated through the posthumousness of the subject; it is thus always already the spectral voice in mourning that announces the originary death and departure of the subject as other. Through exploring the hauntological spectrality in O’Hara’s aesthetics of presence, the thesis concludes by redefining O’Hara’s poetics of the present as in fact the poetics of the "spacing" of the present; that is, as the aesthetics of hauntology.
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Proença, Paulo Jorge de Sousa. "Arte e terrorismo: meta-representações da Arte." Master's thesis, 2016. http://hdl.handle.net/10362/17276.
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Tendo como ponto de partida os estudos da performance para a análise do
terrorismo, a presente dissertação teve como resultado a possibilidade de reflectir sobre
tácticas de incorporação, reperformance e meta-teatro, três conceitos que permitem
compreender de que forma a arte assimila e se compreende em relação com o
terrorismo. Apresenta, por um lado, documentos oficiais que demonstram a existência
de um conflito quanto à definição de terrorismo, reflectindo sobre “terrorismo de
estado” e “contra-estado”. Por outro lado, a partir da análise dos Surveillence Camera
Players e da performance Three Posters, ou de artistas como Hasan Elahy e Alyson
Wyper, esta dissertação defende que a arte reperforma “táticas de representação” e
realização mediática do terrorismo, nomeadamente, o teatro panóptico, a tortura como
performance e os vídeo-testemunhos de mártires como retratos e vídeo-performances.Taking performance studies as a starting point to terrorism analysis, the present dissertation considers the possibility of understanding about embodiment tactics, reperformance and meta-theatre, three concepts that result in an understanding of how art assimilates and is understood in relation to terrorism. On the one hand, this dissertation presents official documents that reveal the existence of a conflict regarding the definition of terrorism, reflecting about “terrorism of state” and “counter-state”. On the other hand, considering the analysis of Surveillence Camera Players and the performance Three Posters, or of artists such as Hasan Elahy and Alyson Wyper, this dissertation argues that art reperforms “representation tactics” and media realization of terrorism, in particular, the panoptic theatre, torture as performance and martyrs videotestimonies as portraits and video-performances.
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Shohadaei, Setareh. "The biopolitical theatre: tracing sovereignty and history in the 2009 Iranian show-trials." Thesis, 2011. http://hdl.handle.net/1828/3511.
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This work looks at the 2009 Iranian show-trials through modern discourses of biopolitics,
sovereignty, and history. I argue that, understood as a theatrical phenomenon, the show
trials are situated within the Foucauldian mode of biopower. The latter entails a shift
from a politics of death to the preservation of the bios. The show-trials also perform a
particularly modern narrative of state sovereignty and teleological history. To consider
them in this way requires a rethinking of Michel Foucault’s theory so as to include
juridico-philosophical discourse within a biopolitical framework. I propose that, as a
performative act, the confessions transform the very thing they are confessing. Through
the work of Jean Baudrillard and Jacque Derrida, I argue that the confessions make
possible a reconceptualization of the political space of sovereignty as simulacrum and
that of the political time of history as hauntology.Graduate
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Oliveira, Beatriz Lopes de. "Cultura pop e escapismo: nostalgia na era pós-internet." Master's thesis, 2020. http://hdl.handle.net/10451/42592.
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This project work arises from a need to contextualize and research what is the role of nostalgia and escapism in pop culture and how they inspired my artistic project. It is intended an understanding of the themes and aesthetic and conceptual trends that have been revealed in the last decade.The first chapter is devoted to exploring the concepts of Nostalgia and Escapism, and how they relate. Escapism, the motivating force of creation and invention, is explored as a multifaceted concept, and nostalgia as a process of escape and how memories become attached in the creative process subconsciously. The ways nostalgia is distorted and caused by the media is exposed, and how it controls us; the role of nostalgia in pop culture and hauntology. The second chapter deals with the issue of art and the internet, giving a brief introduction to the origins of net art. Various cybercultures are also explored, highlighting Vaporwave, the aesthetic and artistic movement of ephemeral nature. Is still approached the post-internet as aesthetic movement and given as examples the artists Signe Pierce and Oblinof Axyxa. Finally, the third chapter deals with the art project entitled Remember Summer Days, by connecting it with the previous themes. The work is treated as a product of the zeitgeist and is considered the role of pop culture in influencing the work. The role of cinema in the work and compare with other media (cinema, television) is dissertated. Photographic work is explored in its composition, a still life as an influence. The color element and the way it alters perception of reality is seen, as the matter of artificial light, and its dream quality and the matter of the eerie.
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Manis, Raechelle Lee. "“More than memory” : haunted performance in post-9/11 popular U.S. culture." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1319.
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This dissertation combines performance analysis, rhetorical criticism, and psychoanalytical theory to analyze three performance “texts” as sites of haunting in post-9/11 America: Tony Kushner’s 2001 U.S. debut of Homebody/Kabul, the Broadway musical Wicked, and ABC’s television drama Lost. It contributes a nuanced, theorized reading of the civil implications of post-9/11 popular American culture as “more than memory” by demonstrating how these performances suggested “what might be” in ways that subverted Bush’s responses to the attacks.
The first chapter reads Homebody/Kabul against the national addresses delivered by Bush in the first weeks after the attacks and argue that the 2001 New York Theatre Workshop performance created a space for audiences to reconsider the version of “mourning” encouraged by the Bush administration. The type of mourning modeled/enabled by Homebody/Kabul, I assert, is different from that against which Derrida warns. Rather than “silencing ghosts” (Gunn 82) through the integration of loss, Homebody/Kabul makes a space for conversing with, and models living with, ghosts.
The second chapter argues that the Wicked’s Ozians are stuck in a state of melancholia, refusing to speak to/with the ghost of Elphaba. Because they refuse to reckon with Elphaba, they literally finish exactly where they began—with “No One Mourn[ing] the Wicked.” By reading Wicked against the celebratory rhetoric of the Bush administration after declaring “Mission Accomplished” in Iraq, we can understand the way the United States as a nation was (and may still be, in 2010) haunted by the Bush administration's failure to lead the nation in mourning effectively and ethically and by its incessant rhetoric of evil.
The third chapter advocates for Lost as a hauntological reckoning with 9/11 that models ethical witnessing as a potentially generative meeting of human beings across cultures at the site of trauma. An alternative to the fear that the Bush administration encouraged leading up to Lost’s premiere and through its final season, ethical witnessing as modeled on Lost suggests that civilization stands to thrive where difference is honored—and risks toppling into chaos where the alternative “us against them” mentality (Other anxiety) prevails.text
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Alary, Olivier. "Vers une musique hantologique instrumentale : réflexions sur l’écriture technomorphe dans le contexte de la musique instrumentale contemporaine." Thèse, 2019. http://hdl.handle.net/1866/23593.
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La présente recherche aborde la notion d’écriture technomorphe dans la musique contemporaine. Ce procédé, consistant à transposer des modèles électroniques dans la domaine instrumental, est apparu peu après la création des studios de la Westdeutscher Rundfunk (WDR) et du Groupe de Recherche Musicale (GRM).
Au cours de ce mémoire, nous verrons l’origine et l’évolution de cette écriture, ses possibles formes ainsi que des exemples de sa dissémination dans la musique contemporaine. Nous présenterons également quatre oeuvres, réalisées dans le cadre de la maîtrise, proposant l’idée de musique hantologique instrumentale, écriture technomorphe inspirée par les artéfacts audio venant de la défectuosité des supports d’enregistrement analogiques et numériques.This research explores the notion of technomorphic writing in contemporary music. This process, consisting of transposing electronic models into instrumental music, appeared shortly after the creation of the Westdeutscher Rundfunk (WDR) and Groupe de Recherche Musicale (GRM) studios. This dissertation addresses the origin and evolution of this approach, its possible forms and examples of its dissemination in contemporary music. Four new pieces, created during this master's degree, further explore the idea of hauntological instrumental music, inspired by audio artifacts from the defective analog and digital recording media.
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Bannouri, Salma. "Consumption of Bias and Reptition as a Revisionary Strategies in Palace of the Peacock and in the Thought of Wilson Harris." Thèse, 2015. http://hdl.handle.net/1866/12555.
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