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Journal articles on the topic 'Hauntologie'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Rahimi, Sadeq, and Byron J. Good. "Preface: Ghosts, Haunting, and Hauntology." Ethos 47, no. 4 (December 2019): 409–10. http://dx.doi.org/10.1111/etho.12256.

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12

Michałowska, Marianna. "Invisible Presence of the Past: Hauntology of Photography." Magic, Vol. 5, no. 1 (2020): 80–85. http://dx.doi.org/10.47659/m8.080.art.

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Photography has been associated with the specter, spirit, and the apparition ever since the theory of photography first emerged. André Bazin and Edgar Morin saw the spectral features of photography as the basis for phenomenological interpretation. However, the most creative exposition of ghosts in photography is linked to Jacques Derrida’s concept of hauntology. Nowadays, hauntology is often cited in relation to nostalgia – longing for “the lost futures”. However, when Derrida wrote Specters of Marx in 1993, he was interested in the ontological repetition of ideas through history. Photographs created by two contemporary Polish photographers (Michał Grochowiak and Nicolas Grospierre) are an excellent illustration of the French philosopher’s thoughts, as their works focus on the same theme – architecture of the socialist era. The recurring specter of the past manifests itself through it. Grochowiak’s photographs from the Breath series (2010) depict the interior of the Palace of Culture and Science in Warsaw – fragments of a monumental memorial from the socialist era. In turn, Grospierre’s series of photographs titled K-Pool and company (2011) documents modernist buildings in the post-Soviet republics. In the article, the reference to hauntology allows me to discuss photography as a carrier of eeriness as well as an invisible tool of disclosure. What’s more, it seems that hauntology may explain the role of photography in discussing the political and social contexts of the past. Keywords: hauntology, photography, modernist architecture, Central Europe, Jacques Derrida

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13

MARKOV, ALEXANDER V. "APPLICABILITY OF HAUNTOLOGY TO THE STUDY OF THE ORIGINS OF SCREEN ARTS." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 217–37. http://dx.doi.org/10.30628/1994-9529-2021-17.2-217-237.

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The article discusses the possibility of making hauntology one of the methods of studying screen arts at the stage of their formation, which might make it possible to correctly interpret the use of early screen arts techniques in later cinema and television broadcasts. Hauntology is a method backed by a program of research into social life and the role of associations in maintaining stable communicative structures, which program is based on the assumption of “ghosts” as cultural actors inherently belonging to the cultural order. Based on the ideas of Jacques Derrida and Mark Fischer, going back to Sigmund Freud’s methods of studying the “uncanny” and “effect of reality”, hauntology claims that ghosts determine the modes of nostalgia and user orientation of a number of screen and visual arts, in particular, the visual principles of modern musical culture. Although hauntology researchers focus extensively on the world of ghosts in the culture of the 19th century, they limit themselves to private remarks and often optimistically presume the fact that the plot rationality ultimately triumphs over the power of ghosts. However, this contradicts both the actual history of the culture then, and the basic principles of hauntology, which asserts that ghosts cannot be fully rationalized. Therefore, the article proposes a visual-critical hauntology, which allows us to explain how visualization techniques contributed to the rationalization of ghostly existence, and how, to create the effect of reality, a screen was required as the basic method of this visualization. Vladimir Toporov’s work on the mystical prose of Turgenev provides the main source of visual-critical hauntology thus proving the need for screen projection to express the author’s position in the era under consideration. The article establishes a connection between the ghostly statuses and the need for a screen reflection mode, which provides a consistent description of psychological reality. It is pointed out that a number of literary experiments of the Victorian era require a screen medium as a basis for understanding the independent sequence of events, from the plot of internal psychological transformation in Dickens’s A Christmas Carol to the “unreliable storyteller” technique in Henry James’s The Turn of the Screw. Visual-critical hauntology, referring to the history of psychology, the decisions of directors, especially Hitchcock, indisputably proves that it is possible to cope with ghosts and rationalize them not with the help of everyday life staging, as it is usually considered, but with the help of its adaptation, which allows to apply emerging technology for creation long-term effect of reality.

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14

Gyssels, Kathleen. "Anthologies, Ontologies, and Hauntologies: Resurrecting Léon-Gontran Damas." Palimpsest: A Journal on Women, Gender, and the Black International 7, no. 1 (2018): 2–10. http://dx.doi.org/10.1353/pal.2018.0001.

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15

Ada Uwakweh, Pauline. "Postcolonial Hauntologies: African Women’s Discourses of the Female Body." Journal of the African Literature Association 14, no. 1 (November 4, 2019): 154–56. http://dx.doi.org/10.1080/21674736.2019.1672370.

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16

Lorek-Jezińska, Edyta. "Hauntology, Performance and Remix: Paradise // Now?" AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard 8, no. 2 (2017): 133–44. http://dx.doi.org/10.26913/80202017.0112.0010.

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17

Adamczewski, Tymon. "Hauntology of Responsibility: Tom Stoppard’s Darkside." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard 8, no. 2 (2017): 157–66. http://dx.doi.org/10.26913/80202017.0112.0012.

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18

Vranken, Ingrid. "Rooted Hauntology Lab: Attempts at vegetal curation." Performance Philosophy 5, no. 2 (February 24, 2020): 236–51. http://dx.doi.org/10.21476/pp.2020.52289.

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In this paper I share my personal attempt of co-working with plants as ghosts and how this has started to shape a curatorial practice that tries to resist extractivism. I wanted to rethink my own practice as a curatorand investigate how to shape relations and ethics differently. For this work I turned towards plants and ghosts as my teachers and allies. They pointed me towards strategies of being-with, generosity and sympoiesis, which I am trying totranspose into a (life-)practice. Rooted Hauntology Lab as an artistic-curatorial project is both the result and ongoing practical playground for this experimentation.

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19

Taylor, Diana. "Dancing with Diana: A Study in Hauntology." TDR/The Drama Review 43, no. 1 (March 1999): 59–78. http://dx.doi.org/10.1162/105420499320582169.

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20

Savoy, Eric. "Jamesian Hauntology: On the Poetics of Condensation." Henry James Review 38, no. 3 (2017): 238–44. http://dx.doi.org/10.1353/hjr.2017.0020.

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21

Bernard, FAURE. "Buddhism’s Black Holes : From Ontology to Hauntology." International Journal of Buddhist Thought and Culture 27, no. 2 (December 31, 2017): 89–121. http://dx.doi.org/10.16893/ijbtc.2017.12.27.2.89.

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22

Fisher, Mark. "The Metaphysics of Crackle: Afrofuturism and Hauntology." Dancecult 5, no. 2 (2013): 42–55. http://dx.doi.org/10.12801/1947-5403.2013.05.02.03.

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23

Good, Byron J. "Hauntology: Theorizing the Spectral in Psychological Anthropology." Ethos 47, no. 4 (December 2019): 411–26. http://dx.doi.org/10.1111/etho.12260.

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24

Glazier, Jacob W. "Derrida and messianic subjectivity: a hauntology of revealability." Journal for Cultural Research 21, no. 3 (June 12, 2017): 241–56. http://dx.doi.org/10.1080/14797585.2017.1338600.

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25

Gómez Gabriel, Núria. "Espectropolítica: imagen y hauntología en la cultura visual contemporánea." Contratexto, no. 034 (2020): 153–76. http://dx.doi.org/10.26439/contratexto2020.n034.4871.

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En su libro Espectros de Marx, Jacques Derrida propone el término hauntología (hantologie) como un giro epistémico dedicado a pensar las formas en las que la tecnología materializa la memoria que parte de la premisa de que nada goza de una existencia puramente positiva y de que, como nos recuerda el crítico musical Mark Fisher en sus reflexiones sobre la depresión, todo lo que existe es posible únicamente sobre la base de una serie de ausencias que lo preceden, lo rodean y le permiten poseer consistencia e inteligibilidad. Este artículo presenta el tropo espectropolíticas con el fin de observar cómo ciertos eventos propios del capitalismo tardío y las abstracciones financieras reverberan en la psiquis colectiva y se transforman en apariciones espectrales. 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. Asimismo, las nuevas materialidades de la visualidad fugaz, fugitiva y subjetiva de nuestro presente (dominado por Internet y los procesos de privatización psíquica), nos interrogan acerca de las colectividades que se organizan en los modos de ver de las sociedades contemporáneas y en las huellas de las estructuras de poder que subyacen en ellas.

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26

Best, Will. "Social Media and Modernist Authority: The Hauntology of Facebook." Persona Studies 6, no. 1 (September 22, 2020): 83–99. http://dx.doi.org/10.21153/psj2020vol6no1art872.

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Highly biographical Modernist author profiles on Facebook seem to adopt or encourage a purely biographical, Genius Cult-esque understanding of the relationship between an author and that author's work. This is initially problematic, as authorial intent is a particularly complex issue of consideration for many of the authors currently haunting Facebook. This article thus establishes the paradoxical view on author-ity of three such authors -- T. S. Eliot, Marianne Moore, and James Joyce -- and examines how such Facebook profiles undermine and simplify the arguments made by these authors both through their critical and creative works. It then suggests that, by mere nature of being present on Facebook, these profiles may indeed engage in teasing out the very same paradox that these Modernists proposed in the first place, using Derrida's Hauntology to examine Facebook as a textual space both of biography and self-prosthesis. The argument ultimately seeks to propose that all Facebook users are indeed just such spectres haunting digital spaces.

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27

Etkind, Alexander. "Post-Soviet Hauntology: Cultural Memory of the Soviet Terror." Constellations 16, no. 1 (March 2009): 182–200. http://dx.doi.org/10.1111/j.1467-8675.2009.00527.x.

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28

Argyrou, Vassos. "Ontology, ‘hauntology’ and the ‘turn’ that keeps anthropology turning." History of the Human Sciences 30, no. 1 (December 28, 2016): 50–65. http://dx.doi.org/10.1177/0952695116684310.

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Twentieth-century anthropology has been operating with the assumption of one nature and many cultures, one reality experienced and lived in many different ways. Its primary job, therefore, has been to render the otherness of the other understandable, to demonstrate that although different it is also the same; in short, to show that although other, others are people like us. The latest theoretical paradigm, known as the ‘ontological turn’, appears to reverse this assumption and to posit many natures and one culture. Whether it does in fact reverse it and constitutes a meta-ontology, as critics have pointed out, or it is only a heuristic, methodological device, as some of the proponents of the ‘turn’ have recently argued, the contention of my article is the same: first, this move – the ontological – is made in the hope of doing a better job in redeeming otherness than earlier anthropological paradigms; second, it fails as they did – in the same way and for the same reasons.

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29

Legras, Horacio. "Roa Bastos's Hauntology: A Reading of Son of Man." Journal of Latin American Cultural Studies 12, no. 1 (March 2003): 37–53. http://dx.doi.org/10.1080/13569320305836.

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30

Lewis, Tom. "The Politics of “Hauntology” in Derrida's Specters of Marx." Rethinking Marxism 9, no. 3 (September 1996): 19–39. http://dx.doi.org/10.1080/08935699608685495.

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31

Lorek-Jezińska, Edyta, and Katarzyna Więckowska. "Hauntology and Cognition: Questions of Knowledge, Pasts and Futures." Theoria et Historia Scientiarum 14 (December 21, 2017): 7. http://dx.doi.org/10.12775/ths.2017.001.

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32

Kim, Sunghyun. "Hauntology of Melancholy and Loss in Andrei Tarkovsky’s Solaris." Journal of East-West Comparative Literature 47 (March 31, 2019): 71–96. http://dx.doi.org/10.29324/jewcl.2019.3.47.71.

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33

Marshall, Jonathan W. "The World of the Neurology Ward: Hauntology and European Modernism mal tourné in Butoh." TDR/The Drama Review 57, no. 4 (December 2013): 60–85. http://dx.doi.org/10.1162/dram_a_00303.

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Butoh retroactively constructs its origins even as it denies access to them. Seen as Derridean hauntology, butoh serves to excavate a butoh subtext from within European and Japanese modernism, a vexed promise of futurity that did not (could not) eventuate. History's spectral presence inhabits and traumatizes nervous bodies.

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34

Cantero, Lucia E. "Sociocultural Anthropology in 2016: In Dark Times: Hauntologies and Other Ghosts of Production." American Anthropologist 119, no. 2 (May 25, 2017): 308–18. http://dx.doi.org/10.1111/aman.12882.

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35

Sexton, Jamie. "Weird Britain in Exile: Ghost Box, Hauntology, and Alternative Heritage." Popular Music and Society 35, no. 4 (October 2012): 561–84. http://dx.doi.org/10.1080/03007766.2011.608905.

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36

Harris, Verne. "Hauntology, archivy and banditry: an engagement with Derrida and Zapiro." Critical Arts 29, sup1 (November 26, 2015): 13–27. http://dx.doi.org/10.1080/02560046.2015.1102239.

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37

Lorek-Jezińska, Edyta. "Shakespeare, Authority and Hauntology: Postdramatic Performance in Walny Theatre’s Hamlet." Multicultural Shakespeare: Translation, Appropriation and Performance 17, no. 32 (June 30, 2018): 21–34. http://dx.doi.org/10.18778/2083-8530.17.03.

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The aim of this article is to explore the potential of hauntological theories to explain and problematise selected aspects of authority and performance in the context of Shakespeare’s drama. Referring primarily to Derrida’s and Abraham’s concepts of the ghost and the phantom and their connection to Shakespeare’s Hamlet, the article discusses hauntological perspectives on performance, both deconstructing and reaffirming authority. The paper comments on the relation between text and performance (Brook, Lehmann), memory and repetition (Carlson), disappearance and perpetual present (Phelan), as well as archive and repertoire (Taylor) in order to highlight the contradictory yet productive ways of understanding performance. The final part of the article, focusing on the significance of the ghost figure, examines experimental appropriations of Shakespeare’s play in Walny Theatre’s Hamlet (2015) in the light of postdramatic aesthetics.

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38

McDowell, Andrew J. "Chunnilal's Hauntology: Rajasthan's Ghosts, Time Going Badly, and Anthropological Voice." Ethos 47, no. 4 (December 2019): 501–18. http://dx.doi.org/10.1111/etho.12261.

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39

Generoso, Lídia Maria De Abreu. "A História e o fantasma da desconstrução [resenha]." CLIO: Revista de Pesquisa Histórica 38, no. 1 (July 29, 2020): 548. http://dx.doi.org/10.22264/clio.issn2525-5649.2020.38.1.21.

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KLEINBERG, Ethan. Haunting History: for a deconstructive approach to the past. Stanford: Stanford University Press, 2017. 189p.A História e o fantasma da desconstrução PALAVRAS CHAVE: Teoria da História, Fantologia, Desconstrução, História da Historiografia.La Historia y el fantasma de la deconstrucción PALABRAS-CLAVE: Teoría de la Historia, Fantología, Deconstrucción, Historia de la Historiografía.History and the ghost of deconstruction KEYWORDS: Theory of History, Hauntology, Deconstruction, History of Historiography.

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40

Pineau, Elyse. "Haunted by Ghosts." International Review of Qualitative Research 5, no. 4 (February 2012): 459–65. http://dx.doi.org/10.1525/irqr.2012.5.4.459.

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This essay troubles notions of presence, embodiment and subjectivity in collaborative writing practice by considering how collaboration operates in the ‘solitary’ practice of critically conscious, performative autoethnography. Drawing on Powell and Stephenson Shaffer's conceptualization of performance as Derridean “hauntology” and grounded in three collaborations with ‘ghostly’ partners, the essay explores when and why it matters to engage the deceased performatively, as articulate bodies in their own right.

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41

Alexander, Bryant Keith. "Dreamscapes and Escapedreams." Departures in Critical Qualitative Research 10, no. 1 (2021): 121–38. http://dx.doi.org/10.1525/dcqr.2021.10.1.121.

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Using the artwork of Southern-born but Los Angeles-based artist Jerry Weems, this performative autoethnography engages artistic renderings of Black Southern cultural life as lived and historicized; as nostalgia and hauntology; as remembrance and recovery; between the there-and-then and the here-and-now. All of this invokes my own lived experience as a Black man from the South now living in Los Angeles.

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42

Adamczak, Marcin. "O modernizmie wyczerpanym." Kwartalnik Filmowy, no. 113 (May 7, 2021): 248–55. http://dx.doi.org/10.36744/kf.475.

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Artykuł jest recenzją książki Miłosza Stelmacha Przeczucie końca. Modernizm, późność i polskie kino (2020). Recenzja zawiera opis struktury publikacji – jej część pierwsza stanowi refleksję nad modernizmem w kinie, a druga przynosi bogaty materiał historyczny związany z późnym modernizmem w kinie polskim lat 70. i 80. Recenzent wskazuje na dużą wagę przywiązywaną przez autora do zagadnień instytucjonalnych oraz na szczególnie oryginalne pomysły związane z uwzględnieniem podziału na centrum i peryferie w globalnej dystrybucji prestiżu i kapitału symbolicznego za pośrednictwem festiwali filmowych. Autor książki przekonująco wykorzystuje też Deleuzjańskie i Derridiańskie (hauntologia) koncepcje, aplikując je twórczo do rzeczywistości kina polskiego. Stelmach w wielu aspektach proponuje nowy język dyskusji o kinie polskim ostatnich dekad ubiegłego stulecia.

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43

Henriksen, Line. "“Spread the Word”: Creepypasta, Hauntology, and an Ethics of the Curse." University of Toronto Quarterly 87, no. 1 (March 2018): 266–80. http://dx.doi.org/10.3138/utq.87.1.266.

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44

DONALDSON-MCHUGH, SHANNON, and DON MOORE. "Film Adaptation, Co-Authorship, and Hauntology: Gus Van Sant's Psycho (1998)." Journal of Popular Culture 39, no. 2 (April 2006): 225–33. http://dx.doi.org/10.1111/j.1540-5931.2006.00230.x.

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45

Fiddler, Michael. "Ghosts of other stories: A synthesis of hauntology, crime and space." Crime, Media, Culture: An International Journal 15, no. 3 (July 25, 2018): 463–77. http://dx.doi.org/10.1177/1741659018788399.

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Criminology has long sought to illuminate the lived experience of those at the margins. More recently, there has been a turn towards the spatial in the discipline. This article sets out an analytical framework that synthesizes spatial theory with hauntology. We demonstrate how a given space’s violent histories can become embedded in the texts that constitute it and the language that describes it. The art installation Die Familie Schneider is used as an example of how the incorporation of social trauma can lead to the formation of a spatial ‘crypt’. Cracking open this ‘crypt’ allows us to draw out Derrida’s notion of the spectre within the context of a ‘haunted’ city space.

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46

Fisken, Tim. "The Spectral Proletariat: The Politics of Hauntology in The Communist Manifesto." Global Discourse 2, no. 2 (January 1, 2011): 17–31. http://dx.doi.org/10.1080/23269995.2011.10707904.

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47

Perrott, Lisa. "Time is out of joint: the transmedial hauntology of David Bowie." Celebrity Studies 10, no. 1 (January 2, 2019): 119–39. http://dx.doi.org/10.1080/19392397.2018.1559125.

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Hassan, Naglaa. "Derridean Hauntology in Selected Poetry of Maya Angelou and Lucille Clifton." مجلة کلیة الآداب جامعة الفیوم 13, no. 2 (July 1, 2021): 1139–73. http://dx.doi.org/10.21608/jfafu.2021.168029.

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Holland, Nancy J. "The Death of the Other/Father: A Feminist Reading of Derrida's Hauntology1." Hypatia 16, no. 1 (2001): 64–71. http://dx.doi.org/10.1111/j.1527-2001.2001.tb01049.x.

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Abstract:

This paper addresses the question of whether Derrida's “hauntology” as developed in Specters of Marx and related texts, can be anything more than yet another repetition of a specifically male preoccupation with the Father inscribed on the bodies of women, in this case the always absent daughter. A careful reading suggests that Derrida, and playwnght fathers of daughters such as Shakespeare and August Wilson, may be aware of the paradoxes of their situation.

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Kearney, Richard. "A Game of Jacks: Review Essay of John D. Caputo's Recent Works." Philosophy & Social Criticism 47, no. 5 (June 2021): 570–86. http://dx.doi.org/10.1177/01914537211017168.

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This is a review essay by Richard Kearney celebrating the recent work of John D Caputo and responding to the companion review essay by Caputo on Kearney's work in this issue of PSC. The author critically considers five volumes by Caputo and two recent volumes and a reader devoted to his philosophy. The essay covers most of the key issues in Caputo's later published work including ‘weak theology’, ‘deconstruction’, ‘radical hermeneutics’, ‘hauntology’ and ‘the event of the impossible’.

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