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!Magic |Manifestation |Medium |Metaphysics |Madeline Usher |man |maternal |monstrous feminine |monstrous | mimēsis | mimetology | mimetic arts | Marin's double conversion | Mourning |mimetism risk |metonymic force |metonymy power |metonymic relation of the figures |mole | | |
Magic:Magic and sorcery are the influencing of events, objects, people and physical phenomena by mystical, paranormal or supernatural means. The terms can also refer to the practices employed by a person to wield this influence, and to beliefs that explain various events and phenomena in such terms.
Manifestation:The materialized form of a spirit.
Medium:A person who posess the ability to communicate with spirits of deceased people (and sometimes pets). Some mediums claim to be able to channel the spirit, by allowing the deceased to speak or write messages using the medium's body.
Metaphysics:Metaphysics is the branch of philosophy concerned with explaining the ultimate nature of reality, being, and the world. More recently, the term "metaphysics" has also been used more loosely to refer to "subjects that are beyond the physical world".
Madeline Usher: Madeline Usher is a living-dead who returns to settle a certain account with her twin:a debt upon which we can only speculate since it remains to be seen.She doesn’t fully exist from the start, but is some sort of supernatural shade, a spiritual doppelganger half of Roderick.
man:man,or humanism,"the name of man being the name of that being who,throughout the history of metaphysics or of ontotheology-,in other words,throughout his entire history--has dreamed of full presence,the reassuring foundation,the origin and the end of play."1.
maternal:adjective.1. of, pertaining to, having the qualities of, or befitting a mother: maternal instincts. 2. related through a mother: his maternal aunt. 3. derived from a mother: maternal genes. Origin: 1475–85; < Medieval Latin māternālis, equivalent to Latin mātern ( us ) ( māter mother + -nus adj. suffix) + -ālis -al1.
monstrous feminine:monstrous feminine,got mentioned by Barbara Creed in her discussion of the horror genre,that even though "the specific nature of the border changes...the function of the monstrous [feminine] remains the same- to bring about an encounter between the symbolic order and that which threatens its stability".(Power of Horror11.)
monstrous:monstrous,the figure without figure or face...monstrous would be the coming of the one who or which comes[la venue de(ce) qui vient] but does not yet have a recognizable figure.
mimēsis/mimetology:in particular "Plato's Pharmacy" and "The Double Session",Derrida undertakes to reevaluate the place assigned to doubles and simulacra in the Platonic interpretation of mimēsis,hence rewriting and reinscribing the terms associated with spectrality and the ghostly.In the notes 10,Dr.Kas proposed:"Attending to the nuances and subtleties of Plato's arguments in Dissemination,Derrida demonstrates that Plato's discourse on mimesis is never monolithic and that there is more than one type or version at work in the Dialogues.The Platonic tradition,Derrida writes in Specters of Marx,associates the image(eidōlon) with the specter and the idol with the phantasm,'the phantasma in its phantomatic or errant dimension as living-dead.'In the Phaedo and Timaeus,phantasmata,which are not distinguished from eidōla,are 'figures of dead souls'."; It was Socrates who passed the first and most decisive judgement on the magical and thaumaturgical operation of mimēsis in the Republic.There he judged the production of likeness or fabrication of images(eidōlōpoiikē),what can be called mimetology,to be far removed from truth and reality.following notes 11 noted that "As is well known,in the Republic,mimēsis is called a 'demiurgy of images[eidōlon dēmiourgia]'(599a7),while in the Sophist,mimesis is a fabrication or making(poiēsis) of images(265bl).The marker of an image(eidōlu poiētes) is a mimētēs. ",where an order of appearance and appearing is set up.see also order of appearance2.
mimetic arts:here mentioned the order of appearance of the mimetic arts,such as painting and writing,for the order of appearance,Dr.Kas Saghafi proposed,"thus the referent is conceived as a real thing or cause,anterior and exterior to all that proceeds from it.Following a schema commanded by ontology and a process of truth,the eidos(the idea as the presence of what is) gives rise to logos,which in turn solicits the eikon and the phantasma:what is mirrors intelligibility or visibility itself,which then leads to the production of icons and images".The mimetic arts,such as painting and writing,are then measured against the truth,understood as the being present of what it.and "this order of appearance is the order of all appearance[Cet ordre d'apparition est l'ordre de l'apparition],the very process of appearing [l'apparaitre] in general," which is commanded by a process of truth3.
Marin's double conversion:Dr.Kas proposed when discuss philosophical exorcism,that according to Derrida,Marin's(Louis Marin) book, Des pouvoirs de l'image brings about a "double conversion":1.first,it protects the question of the image from the authority of ontology,and 2 second,this protection finds its truth or its law in 'the being-toward-death'[l'être-pour-la-mort] of the image";"the being-to-death[l'être-à-mort] of an image...that has the force,that is nothing other than the force to resist,to consist and to exist in death"(FD 183/147)4.Briefly noted this as Marin's double conversion,this is important for understand philosophical exorcism,philosophy's discrimination of image,image of the dead,image's paradigm,force,dynamis.
Mourning:failure at mourning,true mourning would always be impossible,interminable,and necessarily so,he is at work on "failing" at mourning.For as far as mourning is concerned,this "failure" would let the other remain other.see also the wholly other,asymmetrical look,strange topology,image of the dead,force.Dr.Kas proposed that the work of mourning related with the structure of revenance."In the process of taking in,memorializing the other,the work of mourning also leads to the production of phantomatic bodies---to ward off death,or the return of the dead,and to protect the living from confrontation with their own death while at the same time guaranteeing the survival and the 'living on' of the dead.",like example,Pascale Ogier's apparition returns.the work of mourning leads to production of a Spectral body,or "structure of revenance".
mimetism risk:when discuss phantasmaphotography,Dr.Kas proposed Derrida's mime of Roland Barthes,and Derrida risking a certain mimetism,which is necessary when we take someone into ourselves in order to make him or her speak within us.Derrida's essay incomplete yet faithful to Barthe's own manner follows a detail at once very visible and hidden,that of the relation of the punctum to the studium in Camera Lucida,Derrida got found it is the punctum is pointing at him,and only at him.The punctum is that detail which looks only at him.see more at punctum-studium5.
metonymic force:see punctum of Derrida,punctum metonymy power.
metonymy power:see punctum of Derrida,punctum metonymy power.
metonymic relation of the figures:see figures:metonymic relation
mole:see pathbreaking,a mole, like Nicolas Royle descrived,as in Spectres of Marx,Marx himself,and raised a question of animals,his question is this one:I want to explore it by way of a smaller-scale question:what happens to the mole in Spectres of Marx and how does it relate to the more broadly political vision of this book? He mentioned Derrida quoted Hamlet's dialogue and suggested a mole,When Hamlet says "Well said,old mole," the ghost becomes a mole but this mole is already spectralized.The out-of-joint tonality of this moment in the play,the irruption of what J.Dover Wilson called Hamlet's levity with his father's spirit,consitutes what I would like to call,after Derrida or after Joyce,a peephole or portal.And Royle here introduced a opinion about peephole or portal,and give discussion of the figure of peephole.see more with peephole or portal.Royle suggested later that "Hamlet address the figure with the visor-effect as a mole",which may related with the uncanniness of seeing6.Suggested Royle that the mole,or the figure of mole evokes an uncanniness around the question of seeing,see more with uncanniness of question of seeing.
Furtherly,Royle proposed that mole may also bears synbols of death,as he discussed with Kafaka's story,named and titled with "The Burrow",as early as in 1923,who or what is the "I" in the very great late text,everything is in this Kafaka text,in the portal of its title and of its first sentence:"I have completed the construction of my burrow and it seems to be successful"(p.325.)...the "I" tells a fable about the anthropomorphism that permits this fabulous case of a speaking animal....This "I" knows that it is doing things with words,ironically,and that those it is addressing are not only invisible but already dead.And it proceeds to unfold a tale which suggest that,within the anthropomorphic projection,to speak or write as an anonymous,singular,autobiographical animal is to encounter the fabulous origin of the "I" in a doubling or division....The "I" is haunted by the ear,the whistling and the burrowing of the other.This other is variously figured as "some animal unknown to me"(p.347),a kind of double("someone of my own kind,a connoisseur and prizer of burrows,a hermit,a lover of peace":p.337),and as death:"I know that my term is measured,that I do not have to hunt here forever,and that,whenever I am weary of this life and wish to leave it,Someone,whose invitation I shall not be able to withstand,will,so to speak,summon me to him"(p.334.).Royle proposed that in its panic,anxiety and pleasure,"The Burrow presents the animological experience of the impossible." and comments about Death and Aporias,"Death,the one whose invitation cannot be withstood,is as unthinkable here as it is in Aporias when Derrida suggests that man has no more of a relation to death or to the 'name' of death than animal have.One can call death a mole or call death through a mole,as Hamlet might appear to;or as Shakespeare's play might appear to,with all its labour of removing ground,delving and gravedigging(the fossorial and the fossor),relentlessly moving around the figure of death preparing its 'fest' in its 'eternal cell'(5.2.370);or as George Herbert might appear to in his poem 'Grace'('Death is still working like a mole./And digs my grave at each remove...')---but the itinerancy of the trace will always already have burrowed deeper or elsewhere."7
1: Derrida,Writing and Difference,under title "Structure,Sign,and Play",292.
2: 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.Ghosts.",page 68.
3: see ibid,under title "The Ghost of Jacques Derrida.Ghosts.",page 68.
4: see ibid,under title "The Ghost of Jacques Derrida.Death.",page 71.
5: see ibid,under title "Phantasmaphotography"II,page 85.
6: see The Uncanny.Nicholas Royle,Manchester University Press,ISBN 9780719055614 paperback.under title "18.Mole",Page 241~255.
7: see ibid,under title "18.Mole",Page 251~252.
♣ last edit date:8st,Dec.2010.