Paraliterature Glossary gives discussions not of thing-ness "Korperding",but questions of non-thingified Being "Geistding"! "Paraliterature"?
"Paraliterature"?As maybe got attentioned and disclosed by Jodey Castricano,that in the last thirty years,cryptominesis as a writing practice of Jacques Derrida's later works,which appearing with increasing frequency accompanying the living-dead,the revenant,the phantom and the crypt,along with their effects of haunting and mourning,such a practice of encryption in Derrida's writing bears traces of being "ghost-written",and such a cryptomimesis functions in terms of textual mime to produce,in part refer to as "Paraliterature",a hybrid of literature and criticism,art and science,in other names,cryptography or phantomime,since these terms draw attention to the uncanny dimensions of a writing practice that takes place as a ghost of crypt-effect of haunting and mourning.
Contents: in editing!fors |Fors |father dead haunting |Freud comprehension of demons |feeble |function of a crypt |(the) feminine |fantasy of incorporation | face |figure sans figure |force | force of writing |force of the image | FD |figure of the other | face of the other | forbidding topography | figure | figures:metonymic relation | figures:topical | figure du pas | | |
fors:fors,according analysis of Jodey,in Nicolas Abraham and Maria Torok's analysis of Freud's most well-known analysand in The Wolf M,an's Magic Word:A Cryptonymy,where Derrida plays upon the word fors.In the French expression le for intérieur,for designates the inner heart:subjective interiority.In the plural,fors--derived from Latin foris--is an archaic preposition meaning "except for,barring,save".Thus,to write "for(s)" the dead is to anticipate our own.Similarly,the word "for" in English suggests that one writes not only as an agent for the dead,but also that the dead write in our place,a notion that is suggested by another of Derrida's assertions,"departed is the subject"..."every name is the name of someone dead or,of a living someone whom it can do without".1Derrida's play with "fors",the plural fors,as Castricano suggested,that may related with his delineates the spatial t(r)opography of the crypt,in its semantically plural form,fors,indicate "an amalgamation,but actually refers to another,prepositional meaning(namely,'save,' 'except for,' 'outside of')",in the case of Wolf Man mentioned by Abraham and Torok then suggested by Derrida,the word fors means both interiority and exteriority.3.
Fors:for the background,during the late 1950s and early 1960s Derrida took part in a series of seminars organized by Nicolas Abraham,Hungarian-French philosopher-psychoanalyst,on the issue of "transphenomenology": a reading of Husserlian phenomenology in the light of Sándor Ferenczi's work and Freudian psychoanalysis.During the seminars Derrida and Abraham made friends,the result of which are the two forewords the former wrote for the posthumous publications of Abraham,one of them being "Fors:The Anglish Words of Nicolas Abraham and Maria Torok" in Abraham and Torok's The Wolf Man's Magic Word:A Cryptonymy.Those concepts of "anasemia","transphenomenology","crypt","cryptonymy","phantom",and "transgenerational haunting" were developing at that time,and the analysis of the Wolf Man in absentia also began then.
father dead haunting:the paradox in the dream reported by Freud in his book The Interpretation of Dreams,about the father who does not know he is dead:"[the dreamer's] father was alive once more and was talking to him in his usual way,but (the remarkable thing was that) he was nevertheless dead,only he did not know it"2.What remains to haunt is what remains of a certain structure.
Freud comprehension of demons:in his 1913 book Totem and Taboo,Freud believes he can establish a secure grounding for the comprehension of demons,that is:"Neither fear nor demons can be regarded by psychology as 'earliest' things,impervious to any attempt at discovering their antecedents.It would be another matter if demons really existed.But we know that,like gods,they are creations of the human mind:they were made by something and out of something."
feeble:Adjective.1. pathetically lacking in force or effectiveness; "a feeble excuse"; "a lame argument",(synonym) lame,(similar) weak.2. lacking strength or vigor; "damning with faint praise"; "faint resistance"; "feeble efforts"; "a feeble voice",(synonym) faint,(similar) weak.3. lacking physical strength or vitality; "a feeble old woman"; "her body looked sapless",(synonym) decrepit , debile , infirm , sapless , weak , weakly;(similar) frail.4. lacking strength; "a weak, nerveless fool, devoid of energy and promptitude"- Nathaniel Hawthorne,(synonym) nerveless,(similar) powerless , weak.
function of a crypt:the function of a crypt,is,in Derrida's words,"to save [a] living death" through preservation.
(the) feminine:the feminine,there is a caution Derrida ever made against mistaking the feminine for "a woman's feminity,for female sexuality"(Choreographiesp.163),as,in these terms,the feminine poses a threat to a certain order,not because it is synonymous with "woman"---but because it is unrepresentable,or understand it as that "which will not be pinned down by truth"(163).And this notion is monstrous to traditional some.
fantasy of incorporation:see spectrogenic process,and incorporation
From viewpoint of Prof.Abraham and Maria Torok,faced with the extinction of the hope from the decease of the object of love which ever played its role in an subject's life long introjection process,at this case of the loss,the subject resorts to a last-ditch solution:the fantasy of incorporation."Being precisely a fantasy,incorporation functions according to the pleasure principle and the magic of hallucinatory wish-fulfillment,removed from the reality of the loss.",Prof.Maria Yassan give some brief introduction on this:"Faced with the trauma of loss;a wound the healing of which would entail a gradual and painful work of introjection--or mourning--the fantasy of incorporation supplies the subject with an immediate solution,a shortcust the content of which is that the subject literally and concretely devours,swallows the object or parts of it.The subject's wish is to thereby retrieve its own desire through magical union with the object.This wish is secret and felt to be shameful,because the prohibition inherent in the loss is neither heeded nor openly defied,it is evaded....The authors understand this as a manifestation of the magic and orgastic fantasy of union with the lost object,the intoxication of omnipotently reclaiming the drives through incorporation,or devouring of the dead object.",Other cases the fantasy also present is where the loss is less complicated,and the subject has been able to effect a partial introjection,but then as a temporary solution before the actual work of mourning sets in.Based on understanding about the child's psyche development,where "eating serves as a concrete depiction of the child's hungry appropriation of desire.Gradually process(introjection) and magic fantasy(incorporation) separate takes place when the mouth which previously filled with the maternal breast,remains empty,hungry,and desire is temporarily frustrated.",Abraham and Torok thus describe the process of introjection as "the work of empty mouths",thereby stressing the symbolic nature of introjection,as opposed to the concreteness of incorporation.Accordingly,things that concretely fill the mouth (food,alcohol,etc.) can later be used to fill a mouth whose real lack is for words meaningful to the process of introjection.
Thus the fantasy of devouring the dead object serves as a compensation for the emptiness of the mouth imposed by the loss.Since this swallowing has taken place according to a concrete fantasy far removed from associative links to the rest of psychic life,it can neither be repressed to the unconscious where it could be elaborated and integrated with other unconscious material through dreaming,slips,parapraxes etc.,nor is it accepted by the rationality of the conscious ego.By way of solution,the dead object is enclosed in an isolated part of the ego,a kind of secret tomb or inner crypt.The object is not mourned,its image is not repressed---it is enclosed in a part of the ego that is sealed by the repression of the shameful pleasure of the moment of loss.This inner crypt can be likened to the previously mentioned enclave,albeit further sealed by the conserving repression of shameful desire.Here,the object lives its secret life,and the subject becomes the guardian of the secret shared with it.Life goes on,seemingly as if nothing had happened,and no loss had taken place.It is as if the subject stated:"Since the dead object has taken my desire,love and sexuality into the grave,I am obliged,in order to survive,to take the grave into me."
face:the face,or the metaphysics of the face,related by Derrida with hospitality,the face-to-face always be thought in conjunction with the third,and the face-to-face and the third are intimately linked...[in editing.]
figure sans figure:this figure sans figure,"the figure of the absolute figure""beyond all anticipatable forms and norms"
force:or force of writing,writing's force,Derrida declared in the essay "Dissemination" that "the simulacrum is a force","If writing is what puts the simulacrum into play,then the simulacrum bears a relationship to force--it is a force,it has a force.Functioning between life and death,reality and fiction," "the writing of force [l' êcriture de force] ceaselessly dislocates identity,especially the identity of the 'I'(D361/325)",Dr.Kas suggested that writing's force,produces "reality-effects",doubling reality,simulating it.It is death gives the simulacrum its force."It is also what gives painting,writing,and the image in general their force without force."4,and to ask what is force,is already submit the image to the ontological order which conceived of it as a secondary thing with less reality,an appearance of a being,a being of illusion,a weakened reflection,setting up a relationship between the image and being that is regulated by imitation,making the former a representation of the thing.As quoted Louis Marin,the philosophical tradition has always considered the image "a lesser being[un moindre être](emphasis in original),a weaker and inferior being," "a being without power[un être sans pouvoir]," "a being of little power,of little force.",Kas proposed "Submitting the image and its force to the 'what is?' question,then,would be 'to miss it and its force,' to miss 'the image in its force'[l'image en sa force],",which has less to do with whether it is or not,but with the fact that "its dynamic,its dynamis,the dynasty of its force,will not submit to an onto-logic:its dynamo-logic...would never have been,a logic of being,an ontology"(FD 181/145)6.And Kas proposed some blindness of philisophy, "In other words,the ontological order,that is,philosophy,'would have been constituted as such for not knowing the powers of the image'(FD 181/145)." about the reason of this blindness,Kas proposed 2 points,that "This would be either because philosophy did not take the powers of the image into account or because it mistook them 'with a view[en vue] to doing so,so as to oppose them...to the unavowed counterpower of a denial intended to assure an ontological power over the image,over the power and dynamis of the image'(FD 181/145-46)".5.Which may briefly as the dynamo-logic of simulacrum,the dynamo-logic of image,force of the image,dynamis of the image,powers of the image,philosophy's discrimination of image,or philosophy's ontological discrimination of image.see also dynamis,image-power of alterity.
force of writing:see force.
force of the image:see force.
FD:FD,abbreviated of "A force de deuil",by Jacques Derrida,in Chaque fois unique,la fin du monde(Paris:Galilee,2003),181,trans.Pascale-Anne Brault and Michael Naas as "By Force of Mourning," in The Work of Mourning,ed.Pascale-Anne Brault and Michael Naas(Chicago:University of Chicago Press,2001),145.Kas give some explain in the note 16 at p178,that "The expression 'A force de' can also mean 'by dint of,' 'as a result of','due to'.So the clause 'by force of' in the title of the essay can be read as 'as a result of mourning.'"
figure of the other:Derrida questioned how to approach the other?and comments the figure of the other,in Pas(Par 65),proposed a phenomena called "forbidding topography" by Kas,that "The figure of the other,without figure or face[sans figure],the double face[le visage dedouble],of the shore...insists when he speaks of the other,which we do not arrive at,whose distance we do not manage to surmount(Par 65-66)".Kas proposed that the figure and the face of the other,like the shore,belong to an other landscape,an unfamiliar vista,where there is always the danger of foundering and shipwreck.Kas proposed Derrida linked it with Autrui,and suggested that there is a relationship Blanchot reading Levinas,with care of Autrui at a work named L'entretien infini.
face of the other:see figure of the other.
forbidding topography:for Kas,he named the figure of the other,and the face of the other with forbidding topography,as the figure and the face of the other,like the shore,belong to an other landscape,an unfamiliar vista,where there is always the danger of foundering and shipwreck,so maybe the forbidding topography may refers to this unfamiliar vista an other landscape.Kas suggested Derrida associated this forbidding topography with Blanchot and Levinas's writings on "the other",where Derrida linkes the face and the shore with shipwreck and ruin(naufrage)(Par 66)7,Kas proposed Blanchot's work L'entretien infini,and difference of Blanchot's l'autre and Levinas's Autrui.Blanchot ask show interest to know a relation with the other without knowledge,or a relation without knowledge8.see more with Autrui and L'autre.
figure:Kas proposed Blanchot's recits terms figure[s],like the unknown,the shore,the stranger,these figures are not traditional figures(which means a rhetorical trope,a figure of speech or an image,in the traditional sense.),"in other words,they are not simply figures(forms,images,likenesses) of something,transporting its sense or proper meaning in a trope.".Kas proposed they are figure of the other,which means "Effacing the regid distinction between the figurative and the proper,as well as suspending the possibility of deciding between the figural and the literal distinction,each is the figure of the whole and at the same time only one figure.They are figures of the other in the sense that each can be a figure or example of the other and the figure of the other.",Kas proposed and quoted Derrida's reading of Balnchot,and proposed Blanchot's topical figures,or figures du pas.Which forms a metonymic relation9.
figures:metonymic relation:Kas,proposed Derrida's reading of Blanchot's recit,Blanchot's figures,linked in metonymic relation,he called it metonymic relation of the figures,as proposed "All of these terms(which means the shore,the edge,brim(le bord),the figure(la figure)) belong to a series of terms related to each other by resemblance and difference.In other words,the terms are serially linked in metonymic relation:each is singular and quite specific,yet is also substitutable for the other(or a general notion of alterity) and for every other.",and Kas proposed there are substitutive and outside/inside,part/whole.As Kas proposed "Each term thus belongs,without belonging,to the series of terms it makes possible:each can and does take its place outside the series,yet each is also inscribed in the series.In this way,each part is able to comprehend the whole,act as a substitute,and stand for all the others.Each of these figures is both part(i.e., term in the series) and whole(the entire series can be figured in it).A part stands for the whole,yet each is also part (each can be discussed separately on its own merits).Therefore,none of the terms in this series without model or paradigm can function as the first or last term.",thus Kas made propose that "The infinite multiplication of the figures serves as a reminder that there is no 'the other' as such."and actually Kas quoted Jscques Rolland about Levinas and Blanchot's work that as an "extraordinary literary exposition of alterity."10,and Kas cased Derrida's reading of Blanchot's recits,and proposed with Derrida that since the other can only be understood in terms of a relation and an approach("le pas vers l'autre"),the relation to the other is performed in terms of several "topical figures[figures topiques]"(Par 75),and exampled them,for more see figures topical.
figures:topical:or figure du pas,Kas proposed and listed Blanchot's several topical figures[figures topiques]:(1).the staircase,(2).the labyrinth,(3).the step/not,(4).the figure,(5).the glass pane,etc.Kas proposed that none of these figures du pas is an image(understood in its traditional sense),nor are they sites in space(Par 75).Not only are they topical figures,spacing figures,but also tropical figures,understood otherwise,enacting the relation to the other.and Kss proposed seriously that "Figures such as the glass pane and the stairwell are not sites in space as such,contained by space,but their spacing gives place to a site."Then he cased some explain about the stairway,or the staircase11.and these figures(the staircase,the step/not[le pas],the glass partition[la vitre] and so on),Kas proposed is exemplary of the relation to the other.they are exemplary example,unique and singular.
figure du pas:see figures:topical.
1: see Roundtable on Autobiography,page 53.
2: see The Interpretation of Dreams,page 430.
3: see Fors,"The word fors in French,derived from the Latin foris(outside,outdoors),is an archaic preposition meaning 'except for,barring,save.'In addition,fors is the plural of the word for,which,in the French expression le for interieur,designates the inner heart,'the tribunal of conscience,'subjective interiority.The word fors thus 'means' both interiority and exteriority".
4: see Apparitions-of Derrida's Other.Kas Saghafi,Fordham University Press.2010.ISBN.978-0-8232-3162-1.under title "The Ghost of Jacques Derrida,Force",page 69-70.
5: see ibid,page 70.
6: FD,means "A force de deuil",in Chaque fois unique,la fin du monde(Paris:Galilee,2003),181,trans.Pascale-Anne Brault and Michael Naas as "By Force of Mourning" in The Work of Mourning,ed.Pascale-Anne Brault and Michael Naas(Chicago:University of Chicago Press,2001),145.abbreviated as FD.see ibid,notes 16.p.178.
7: see Apparitions-of Derrida's Other.Kas Saghafi,Fordham University Press.2010.ISBN.978-0-8232-3162-1.under title "Part III,Approaches.Shore",page 106~107.
8: see ibid,page 107.Kas proposed,that "In the early chapters of L'entretien infini,Blanchot explains how philosophy has been understood as the attempt to acquire knowledge about that which is unknown.But this desire for knowledge of the 'not known[non-connu]' is,for Blanchot,inseparable from a desire to seize and grasp what is not-known,that is,to gain power over it(EI 72/50).","What is of interest for Blanchot is whether it would be possible to have a 'relation with the unknown[relation avec l'inconnu] ' that would not be a relation of knowledge.",This "impossible relation",Blanchot writes in agreement with Levinas,would be a relation with the other(EI 78/55).
9: see ibid.under title "Part III.Approaches.6.By the Board.Derrida Approaching Blanchot.Figure(s)",p123-124.
10: see ibid.under title "Part III.Approaches.6.By the Board.Derrida Approaching Blanchot.Figure(s)",p124-125.
11: about the case,Kas proposed that the stairway perhaps the quintessential figure of the pas,encapsulates the relation of approach-distancing toward the other.It remains at the same time infinitely distanced from and yet infinitely close to every perceptible,presentable,familiar stairway.turning on itself,without advancing,but without ever fully coming back to itself,each step of the winding staircase repeats itself,entirely differently(Par 78).Like the ascent up or descent down the staircase,the approach or coming of the other and the relation to it take place in the halting gait of a pas sans pas.see ibid.under title "Part III.Approaches.6.By the Board.Derrida Approaching Blanchot.Figure(s)",p124-125.
♣ last edit date:8st,Dec.2010.