Jacques Derrida's Ghost: A Conjuration
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In Jacques Derrida s Ghost, David Appelbaum explores three of Derrida s favorite themes: the other, death, and the work of mourning. He shows how Derrida s unique philosophy, mindful of ghosts, proposes a respectful attitude toward otherness whether the other be corporeal or indeed phantom. Taking up Derrida s concern with performative ethics, Appelbaum examines the possibility of such an ethics of subjectivity within the context of performance."
voice—a voice that recalls the spectral. The ghostly double of citation is repeated in the way a cited text copies an inscription (“Remember me”) without being a copy of an original. Citation is iteration without origin or originarity. Citation as re-citation. That the words repeated in citation are new to the context, that the voice reading resonates with a unique event of voicification, expresses an aporia. Iterability that has “its twin aspect of repetition of the same and affirmation of the
dying mother “no longer calls me, and for her, for the rest of her life, I no longer have a name.”2 The breath swallowed whole in its entirety by the mute trace: death of name, call, holy in language: return of an algorithm that counts metaphysical discourse in the incommensurate logic of the supplement. Within the web of temporality, iteration is (like) a time’s tremble (tempo of a tremble), the tremulous shift of tense that scans the variant temporalities of the present, present future, present
payment, to postpone the pleasure of its attainment, to put off consumption (consummation) until time has passed, to revel in the desiring, and to elevate the present progressive tense to eminence. The failure that calls for mourning is writing to root out the ‘sin,’ to confess, avow, acknowledge, ex-pose, exteriorize that which has been kept interior—that is, living memory of the dead (past and future), in which is included the writing’s own ghost, its ‘self’ come back from the dead, the life
justice,” simply put. Jacques Derrida, “Force of Law: The Mystical Foundations of Authority,” in Acts of Religion, p. 243. 5. Specters of Marx, p. xviii. 6. Ibid., p. xix. 7. Jacques Derrida, Archive Fever, tr. Eric Prenowitz (Chicago: University of Chicago Press, 1996), p. 39. 8. Emmanuel Levinas, “The Trace of the Other,” in Deconstruction in Context, ed. Mark C. Taylor (Chicago: University of Chicago Press, 1986), p. 349. 9. Idem. Chapter 1. With the word I 1. Performative grammar applies to
integrity of, 12; noncoincidence of, 21; as part of spectacle and audience, 55; that is gifted, 59; trembling of, 8, 40, 59; wakefulness in, 79; in writing, 78 identity: absence of, 46; and aporia, 8; authentication of, 7; as essence of being, 7; of the “I,” 74; indeterminate, 15; of indiscernibles, 8, 120n11; personal, 11; presence and, 7; of reading voice, 46; of the revenant, 36; scar of, 112; self, 11, 72; of the who, 74; of who is writing, 7, 8; of writer, 7 image: audio/visual, 48; of