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!speculation |subject |sous rature |Sacred (Holiness) |Satan |Séance |Seminar |Sleep paralysis |Soul |Smudging |Spirit Guides |Spiritism |Spiritualism |Spirituality |Spiritual healing |Supernatural |semantikos |structuring principle of incorporation |sacrilege |stage contamination |secured door |spatial problematics of death |spectre |spectrogenic process |structuring principle of cryptomimesis |spectropoiesis |sorcerers |spirit |subjectivity as pure alterity |spectral tout autre |simulacrum |scientificity |structure of photography |self-divergence |S-P composition |singularity of the other |simulacrum of meaning |self-overhearing |self-bugging | | |
speculation:Jodey Castricano suggested there is a certain correspondence relation of Derrida's "poetics of the crypt" and the Gothic word "speculation",where the word speculate("to pursue an inquiry,to form a theory") derived from the latin specula,a watch tower and specere,to look, lead to Derrida's works about the performace of a ghostly inheritance and a debt.nature of debt best appreciated with english word revenant and french revenance,a notion of "return(s)".What then does it mean to speculate?What phantoms come into play?Especially when one writes?Derrida suggested "speculation always speculates on some specter,it speculates in the mirror of what it produces,on the spectacle that it gives itself and that it gives itself to see.It believes in what it believes it see:in representations"(Specters of Marx146),and spectre suggests an uncanniness link to Lacan's dialetic(Lacan's conception of the mirror stage as being "formative of the function of the I"),by drawing attention to the spectral nature of the "I" in terms of ghostly inheritance and an unresolved debt or promise.A suggestion need attention:"In effect,the very idea of the first-person singular,with all its claims to agency and consciousness,is irrevocably undermined when that pronoun is shown to be plurally determined."1
subject:subject under cryptomimesis,the fantasy of incorporation,incorporation got seen as the possibility of the subject...More than the maintenance of a forbidden desire,the crypt is the very figure of desire,and Derrida considers that haunting,the phantom,and the crypt are always already the very condition of the subject,in terms of cryptomimesis,the subject is a crypt-effect of the text,the spectre of desire.For the phantom,that is to say,the "shadow of the object",comes back to haunt by being "reincarnated in the person of the subject".In cryptomimesis,the moment of uncanniness is brought about through the shadow effect of the other,a textual figure of desire that,"carries the ego as its mask,that is,either the ego itself or some other facade.",through the uncanny or the ear,this unheimlich shadow structure,as Derrida mentioned "the ear is uncanny.Uncanny is what it is;double is what it can become".Where the phantom indicates a rift in the ego,it returns to haunt its host through a mechanism which,"consists of exchanging one's own identity for a fantasmic identification with the 'life'--beyond the grave--of an object of love".Although it takes many forms in endo-cryptic identification,"the 'I',",to Abraham and Torok,"is understood as the lost object's fantasied ego" who haunts the subject through a kind of ventriloquism.As there can be no actual monologue but rather that thought is both heteroglossic and hybridized.In short,the "subject" is a compendium of stratified discourses,not static but always becoming,a "dialogic imperative".See also ego,es spukt
sous rature:"sous rature" is a strategy got used by Derrida,as Dr.Jodey's attention,Gayatri Spivak ever discussed something on sous rature,and she perceives as a "gesture effacing the presence of a thing and yet keeping it legible".For example,Derrida assertion in Fors,that the crypt forms an "enclosure" that functions "to purloin the thing from the rest"2
Sacred (Holiness):Holiness, or sanctity, is the state of being holy or sacred, that is, set apart for the worship or service of God or gods. It is most usually ascribed to people, but can be and often is ascribed to objects, times, or places. The word holy is related to the word whole.
Satan:Satan, from the Hebrew word for "adversary", is a term that originates from the Abrahamic faiths, being traditionally applied to an angel. Religious belief systems other than Judaism relate this term to a demon, a rebellious fallen angel, devil, minor god and idolatry, or as an allegory for evil
Séance:A séance is an attempt to communicate with the dead. The séance, or sitting, is led by a person known as a medium who will usually go into a trance that theoretically allows the dead to communicate through him or her. The word séance comes from the French word for 'seat', 'session', from Old French seoir, 'to sit.' In English, the word came to be used specifically for a meeting of people to receive spiritualistic messages.
Seminar:A seminar is, generally, a form of academic instruction, either at a university or offered by a commercial or professional organization. It has the function of bringing together small groups for recurring meetings, focusing each time on some particular subject, in which everyone present is requested to actively participate.
Sleep paralysis:Sleep paralysis is a condition characterized by temporary paralysis of the body shortly after waking up (known as hypnopompic paralysis) or, less often, shortly before falling asleep (known as hypnagogic paralysis).
Soul:The soul, according to many religious and philosophical traditions, is the self-aware essence unique to a particular living being. In these traditions the soul is thought to incorporate the inner essence of each living being, and to be the true basis for sapience.
Smudging:A smudge stick is a bundle of dried herbs, most commonly white sage. Often other herbs or plants are used or added and the leaves are usually bound with string in a small bundle and dried. Ojibway and Cree ceremonies often use smudges of sage, sweet grass, and/or juniper to cleanse with, and to give prayers to the Creator, or Gitche Manitou.
Spirit Guides:Term used by mediums and spirituals to describe an entity that remains a disincarnate spirit in order to act as a spiritual counsellor or protector to a living incarnated human being.
Spiritism:Spiritism is a philosophical doctrine akin to Spiritualism, established in France in the mid 19th Century, which has become a sort of religious movement. Like Spiritualists, Spiritists believe in the survival of the souls after death and the importance of eventual communications received from them. Spiritism derives most of its principles from works by the French educator Hippolyte Léon Denizard Rivail written under the pseudonym Allan Kardec.
Spiritualism:Spiritualism is a religious movement, prominent from the 1840s to the 1920s, found primarily in English-speaking countries. The movement's distinguishing feature is the belief that the spirits of the dead can be contacted by mediums. These spirits are believed to lie on a higher spiritual plane than humans, and are therefore capable of providing guidance in both worldly and spiritual matters. Spiritualism is closely related to Spiritism, a religious movement that originated in France, and is today widespread in Brazil and other Latin countries.
Spirituality:Spirituality, in a narrow sense, concerns itself with matters of the spirit. The spiritual, involving (as it may) perceived eternal verities regarding humankind's ultimate nature, often contrasts with the temporal, with the material, or with the worldly. Spirituality often focuses on personal experience. Many spiritual traditions share a common spiritual theme: the "path", "work", practice, or tradition of perceiving and internalizing one's "true" nature and relationship to the rest of existence (God, creation (the universe), or life), and of becoming free of the lesser egoic self (or ego) in favor of being more fully one's "true" "Self".
Spiritual healing:Use of spiritual means in treating disease. Spiritual healing can also refer to the self-empowerment or self-actualization process or steps within those processes that often occurs with individuals seeking enlightenment or meaning in their lives.
Supernatural:The supernatural refers to forces and phenomena which are not observed in nature, and therefore beyond verifiable measurement.
semantikos:the greek semantikos-"significant"-it draws attention to the greek semaino,which is to signify,evolved from sema,sign or tomb."Whereas the displacement suggests a kind of writing to oneself,the return of which is a kind of legacy or an inheritance of that which is a secret,it is towards the sign and its relationship to life and death that our attention is directed.",Dr.Castricano suggested some example,as the shift between sematary and cemetery,difference to differance,such diplacement lead us to think out of semantics,and semantikos,that is,such kind of translation,or transpositions,or displacement turn the proper name into a rebus,as a type of encryption of the proper name.
structuring principle of incorporation:the structuring principle of incorporation,that is producing an architecture of mourning,structures not only the text but also the subject....Where Dr.Castricano suggested "what is at work" is a kind of "framing device",its "effect?" is the production of an uncanny space,or "an artificial unconscious".3.And compare to traditional mimesis or the "'normal' system of reference",with its values and assumptions of realism,Derrida's writing offer itself as the uncanny model of its own making.also see incorporation,uncanny,crypt,rhythm of incorporation.
structuring principle of cryptomimesis:the structuring principle of cryptomimesis,from the definitive viewpoint of Castricano,that is analogous to the fantasy of incorporation,meant to house something other and to keep it "safe".As in the case of Derrida,or in the cases of Derrida's later writings,that is such a spacing performativity "not only (1).mimes the fantasy of incorporation,but also (2).draws the reader into the act which takes 'place' in language."such a performativity or performativity of (cryptic) spacing,got a semantiko as topos.
sacrilege:sacrilege,noun.1. the violation or profanation of anything sacred or held sacred.2. an instance of this.3. the stealing of anything consecrated to the service of god.Origin:1275–1325; Middle English < Old French < Latin sacrilegium, equivalent to sacri- (combining form of sacrum holy place) + leg ( ere ) to steal, literally, gather + -ium -ium.4,Wiki noted:"Owing to the phonetic similarities between the words sacrilegious and religious, and their spiritually-based uses in modern English, many people mistakenly assume that the two words are etymologically linked, or that one is an antonym of the other. Religious is derived from the Latin word religio, meaning "reverence, religion," whereas sacrilegious is derived ultimately from the Latin combining form sacr-, meaning sacred, and the verb legere, meaning "to steal". The Latin noun sacrilegus means "one who steals sacred things".
stage contamination:to stage contamination,according to Derrida,is to do "something altogethor other than mixing literature and philosophy",to risk something,"Theatricality must traverse abnd restore 'existence' and 'flesh'...Thus whatever can be said of the body can be said of the theater.".Castricano suggested "To stage contamination is to demonstrate the instability of the borders determining social identity,namely genealogy,filiation,sanguinity:the family line,if you will."5
secured door:a decured door carries with it the notion of protecting,guarding,defending.As mentioned by Roderick Usher in Poe's story,having entombed Madeline Usher,"secured [behind them] the door of iron".And usher just denotes "one who is acting as a door-keeper".
spatial problematics of death:Derrida-Kristeva-Castricano proposed and similarly suggested:that "in terms of mimesis,death has certain spatial problematics that can be thought through only in terms of the architecture of the crypt itself and that which it houses;usually a corpse that one buried,will stay that way-unless,of course,one can return from the dead."6.the Christ must be such a problem.As Derrida evoked in Fors:"What is a crypt?What if I were writing on one now?...not a crypt in general,but this one,in its singularity,the one I shall keep coming back to"(Fors.xi,xiii)
spectre:spectre,as Derrida suggested,since wherever the spectre appears,it is,a "phenomenal and carnal form of the [thing that is called] spirit",one the one hand,the spectre is the "carnal apparition[s] of the spirit,its phenomenal body,its fallen and guilty body,[the spectre] is also the impatient and nostalgic waiting for a redemption,namely,once again,for a spirit.[On the other hand]the ghost would be the deferred spirit,the promise or calculation of an expiation.",see also visibility-specter/phantom or ghost.
spectrogenic process:spectrogenic process,as Derrida ever made some comments,that is,"for there to be a ghost,there must be a return to the body,but to a body that is more abstract than ever".And this spectrogenic process may "corresponds to a paradoxical incorporation,for ideas and thoughts(Gedanke) detached from their substratum,one engenders some ghost by giving them a body,...by incarnating the latter in another artifactual body,a prosthetic body,a ghost of spirit,one might say a ghost of the ghost".The spectrogenic process thus correspond above mentioned paradoxical incorporation,and in the flesh,"for there is no ghost,there is never any becoming-specter of the spirit without at least an appearance of flesh,in a space of invisible visibility,like the dis-appearance of an apparition."(specters,126)
spectropoiesis:spectropoiesis,is mentioned and used by Dr.Keith Ansell Pearson to note a condition in which life gets caught in it,the banal placement of life in terms of a "temporal stretch between birth and death" reveals little insight into the phenomenon of repetition,whether this poiesis be the event of the over-life that lives beyond bodies and organisms,but also through them,one dealing with a germinal life that haunts finite organisms and bodies.This "poiesis" in its concept,similar as mimesis mentioned and used by Castricano.
sorcerers:sorcerers occupy an anomalous position within their social field,dwelling at the edge of fields or woods,at the borderline between villages,and operating 'between' life and death.Their relation to anomalous is not one of filiation but of alliance,establishing a pact with evil spirits:"The sorcerer has a relation of alliance with the demon as the power of the anomalous"(Deleuze and Guattari 1980:301;1988:246).
spirit:Spirits do not simply leave nature;rather,they animate nonorganic and germinal life,inventing and reinventing themselves as evil spirits who burn nature in flames of metamorphosis,rediscovering the infinite in the spirit of evil.
subjectivity as pure alterity:or "I",the same and the other,Dr.Kas emphasized that "subjectivity as pure alterity,Derrida remarks,should be (doit etre) stripped of all ontological predicates,properties,and attributes by which it could be defined.For the other is no more reducible to its predicates than the 'I' is."7
spectral tout autre:also see tout autre,respect for the alterity of the other.
simulacrum:see also writing,order of appearance,Dr.Kas Saghafi proposed that as long as the simulacrum is not understood,as it has been throughout Western thought,as a copy of a copy but is taken as an undecidable double.The simulacrum or the phantasma,"at once image and model,and hence image without model,neither image nor model," would not be a derivative of the eidos but a "double" with nothing coming before it(D 239/211).If there is no simple reference but only the differential structure of mimēsis,then "there is no longer any model,and hence,no copy and that this structure...is no longer being referred back to an ontology or a dialectic"(D235/207).
scientificity:about belief in ghost,Derrida asked and raised the name of scientificity and its spectrum(immanentism,objectivism or realism,rationalism,universal rationality),Kas-Derrida proposed "has it not always been in the name of the scientificity of science,Derrida asks,'that one conjures ghosts or condemns obscurantism,spiritualism,in short,everything that has to do with haunting and with specters?(E 133/118)'.To 'believe in ghost,' then,would require not a steadfast trust in the rationality of thought but a leap of faith----and what is faith but belief in the 'unbelievable?'---a leap that is unacceptable to the adherents of immanentism,objectivism or realism,rationalism or scientificity,all of whom believe themselves to be on firm ground,holding on to the reassuring idea of a continuous progress of universal rationality" This tele-technoscientific reason or rationality,with its disdain for all popular interest in such things as clairvoyance,parapsychology,and metapsychology,must reject all belief as a remnant of theological doctrine....There is an intimate relation not only between religion,theology,and ghosts but also between belief,credulity,and ghosts8.see also believe.
structure of photography:Derrida,in his essay mourning Barthes,under title "The Deaths of Roland Barthes",published in the journal Poétique in 1981 and later collected in Psyché:Inventions de l'autre in 1987,Derrida related several topics related with the structure of photography,Dr.Kas proposed :"Derrida's essay is a meditation on death and mourning,memory and ghosts,the referent and the other,the proper name and the unique,the look and the image,and their intertwining in the structure of photography...photography permits us to maintain a relation to the absolute singularity of the other."9,This essay ties togethor Derrida's concern about the relation between photography and spectrality,how death and the referent are brought togethor in the same structure.Kas concluded and proposed that just this conjugation of death and the referent in the photographic event that,he would like show,gives photography its spectral structure(Psy 291/53)10.
self-divergence:it was Barthes-Derrida-Kas,when discuss the photographic referent,related the photographic referent with the self-divergence,which means,to Barthes,in the photograph,"What I see may have been there yet already deferred"(CC 121/77 $32),Kas proposed thus the having-been there of the other is always deferred,constituting itself in a delay.For the possibility of photograph,or in Kas's words,"In order to be photographable,in order for it to be possible to have technically reproduced images and infinitum,the 'now' of what is photographed must already be self-differing and -deferring,it must constantly diverge from itself.It can only ever be itself through a detour,by way of the other.The photographic referent is thus never self-identical but already split from itself,already ghostly.This self-divergence constitutive of any entity is spectrality itself and makes photography possible." and Kas proposed the spectral of phantom of the photography,he proposed:"...From the moment of taking the picture---perhaps,even before--the photographed is a phantom.For there to be photography,the referent must be spectral.What the early photographs allude to,with their sepia tones and hazy images(which resemble emissions or emanations),is not some defect or imperfection in the instrument or the photographic process that could be eliminated with advances in technological techniques,but the ghostliness of what is photographed and of photography itself.In fact,there would be no photography without specters."11,more related see photographic referent
S-P composition:according to Derrida,the apparent opposition of the studium and the punctum instead "facilitates a certain composition between the two concepts"(Psy 279/41).Remaining heterogeneous yet not opposed to each other,they "compose togethor,the one with the other"(Psy 279/41).Barthes-Derrida-Kas recognized the punctum double,or 2 aspects of punctum,and also punctum-studium composed a contrapuntal composition,Derrida -Kas termed unicity of the referential(Psy 295/57),or heterogenity of the punctum.Kas proposed there is 3 ways to understand this contrapuntal relationship:1st.is a supplemental relationship..The punctum adds itself only in order to replace...The relation of the punctum to the studium,then,is of an other order---it is supplementary;2nd,a rhythmic relationship.Kas proposed that Derrida suggested that In composing with it,in giving rhythm to it,the punctum 'scans' the studium(Psy 280/42).Composition,then,is this rhythmic relation between the punctum and the studium in the photograph(the punctum pierces the fabric of the photograph but allows itself to be reappropriated.),and all photographs bear the signs of a constant negotiation or rhythmic relation between what is irredeemably other,outside,and the process of technological reproduction,which seeks to interiorize it.Every photograph is thus a constant attempt at capturing the other by luring it into the picture,a relentless pointing to what is singularly other within a graphic of light and shade;3rd.a relationship of haunting.The punctum inhabits the studium in such a manner that the haunting of the two elements prevents us from clearly distinguishing two distinct places,contents,or things from one another...which brings the ghost of a concept,which means not a concept,but the ghost of a concept,not a clearly demarcated,self-sufficient concept or entity,but one inhabited by another(Psy 280/41).The relation of haunting suggests a quasi-concept of the ghost,Kas proposed it opened the discuss of life-death.
singularity of the other:Kas proposed Derrida's reading of Blanchot demonstrates the utmost respect for the singularity of the other,the uniqueness of his idiom.About Derrida's concern,Kas proposed If Derrida's reading of Blanchot cannot,strictly speaking,be said to be a "philosophical" reading,it is not because it resorts to naive playfulness or because it lacks rigor;rather,it is because it holds Blanchot's works in the highest regard12.
simulacrum of meaning:it was Blanchot-Kas proposed findings a simulacrum of meaning when discuss neutral literary act and spectrality,where neutral frees meaning as a phantom.see details with neutral literary act
self-bugging:self-bugging or self-overhearing,Nicolas Royle suggested Harold Bloom called Hamlet's speeches example as self-overhearing or self-budding,as Bloom observed Shakespear's character,"Overhearing their own speeches and pondering those expressions,they change and go on to contemplate an otherness in the self,or the possibility of such otherness."It is this sort of self-bugging,this responsiveness within the unfolding of the speech-act towards an otherness or foreign body within oneself(an otherness never simply separable from the unimaginable 'reality' of 'the undiscover'd country'),that illustrates what Bloom attributes to Shakespeare as "the invention of the human."13
1: see.p.9~10.The First Partition:Without the Door.,from Cryptomimesis:the gothic and Jacques Derrida's ghost writing,Jodey Castricano,ISBN 0-7735-2279-4,McGill-Queen's University Press 2001.
2: see Fors,xiv.
3: about the structuring principle of incorporation,or the significant about a writing that has an archetectural "relation" to a crypt and is,moreover,cryptically motivated:"What is called Thinking?[saying that]...the Thing is to be thought out starting from the Crypt,the Thing as a 'crypt effect'...It is a kind of 'false unconscious,'an 'artificial' unconscious lodged like a prosthesis,a graft in the heart of an organ,within the divided self.A very specific and peculiar place,highly circumscribed,to which access can nevertheless only be gained by following the routes of a different topography."(Fors,xiii),Castricano suggested "in general,such a writing amounts to disruptions in the organization and maintenance of interior space which take place through the violence of exclusion and repression.It also draws upon whatever threatens the borders of that space." in Fors(xi),Derrida remarks:"What is a crypt?What if I were writing on one now?".
4: see dictionary.com.
5: see Cryptomimesis,88,under title "The Question of the Tomb".
6: see Cryptomimesis,100~102,under title "A Cryptic Spacing:The Destruction of Representation".
7: see Apparitions-of Derrida's Other.Kas Saghafi,Fordham University Press.2010.ISBN.978-0-8232-3162-1.under title "Analogies-III,This Monstrous Figure without Figure or Face".
8: see ibid,under title "The Ghost of Jacques Derrida.A Spectral Body".page 77~79.and under title "The Ghost of Jacques Derrida.I Believe in Ghosts".page 81-82.
9: see ibid,under title "Phantasmaphotography",page 83.
10: see ibid,under title "Phantasmaphotography",page 84.
11: see ibid,under title "Phantasmaphotography IV",page 93.at notes 14.page 187,Kas proposed a citation where Derrida ever discuss relation between a time of lag and delay(retard) and photography,it was "Demeure,Athènes"(2009,Paris:Editions Galilée),about Jean-Francois Bonhomme's book of photographs,Athénes:A l'ombre de l'Acropole(Athens:Olkos,1996);and Kas lay emphasis at notes 15,that photographic referent resembles that of emanations or emissions,as he proposed:"Precision is necessary here:the referent,as has been already described,is not an already existing entity that emits eidōla.The spectrality of the photographic referent resembles that of emanations or emissions.",see notes 14,15,16.at page 187.
12: see ibid,under title "Part III.Approaches.By the Board.Derrida Approaching Blanchot.",page 105.
13: see The Uncanny.Nicholas Royle,Manchester University Press,ISBN 9780719055614 paperback.under title "To be announced",Page 226~240.
♣ last edit date:8st,Dec.2010.