Benutzer:HeighHoTheHolly/projekte/hauntologie

Hamlet, Prince of Denmark, Act I, Scene IV by Henry Fuseli (1789)

Hauntologie (ein Schachtelwort, das sich von den Worten haunt, oder heimsuchen, und Ontologie ableitet) ist ein von Jacques Derrida in seinem Buch Spectres de Marx (de: Marx' Gespenster) geprägter Neologismus. Der Begriff beschreibt vor allem europäische Kulturphänomene, die von den Geistern ihrer gemeinsamen Vergangenheit heimgesucht (d.h. besessen) sind, und findet in Bereichen von der bildenden Kunst oder der elektronischen Musik bis hin zur Literaturkritik Einsatz.

Derrida leitete den Begriff von der marxistischen Vorstellung eines Gespenstes des Kommunismus ab, das in Europa umgeht. Obwohl es im begrifflichen Zentrum von Marx' Gespenster steht, erscheint das Wort erst dreimal in dem Buch, und es herrscht kein kritischer Konsens, was die genaue Definition des Begriffs betrifft.

Marx' Gespenster

"Hauntology" originates from Derrida's discussion of Karl Marx in Spectres of Marx, specifically Marx's proclamation that "a spectre is haunting Europe—the spectre of communism" in The Communist Manifesto. Derrida calls on Shakespeare's Hamlet, particularly a phrase spoken by the titular character: "the time is out of joint".

Derrida's prior work in deconstruction, on concepts of trace and différance in particular, serves as the foundation of his formulation of hauntology, fundamentally asserting that there is no temporal point of pure origin but only an "always-already absent present". His writing in Spectres is marked by a preoccupation with the "death" of communism after the 1991 fall of the Soviet Union, in particular after theorists such as Francis Fukuyama asserted that capitalism had conclusively triumphed over other political-economic systems and reached the "end of history"."

Other usages

⧼Seealso⧽[[:Hauntology (music) |Hauntology (music)]].

Hauntology has been used as a critical lens in various forms of media and theory, including music, political theory, architecture, Afrofuturism, anthropology, and psychoanalysis.Vorlage:Not in citationVorlage:Page needed Due to the difficulty in understanding the concept, there is little consistency in how other writers define the term.

In the 2000s, the term was taken up by critics in reference to paradoxes found in postmodernity, particularly contemporary culture's persistent recycling of retro aesthetics and incapacity to escape old social forms. Writers such as Mark Fisher and Simon Reynolds used the term to describe a musical aesthetic preoccupied with this temporal disjunction and the nostalgia for "lost futures". So-called "hauntological" musicians are described as exploring ideas related to temporal disjunction, retrofuturism, cultural memory, and the persistence of the past.

See also

• Deconstruction

Further reading

• Specters of Marx, the state of the debt, the Work of Mourning, & the New International, trans by Peggy Kamuf, Routledge 1994. Vorlage:ISBN.
• Buse, P. and Scott, A. (ed's). Ghosts: Deconstruction, Psychoanalysis, History. London: Macmillan, 1999. Vorlage:ISBN.
• Hauntology in Psychological Anthropology Special Issue of Ethos: Journal of the Society for Psychological Anthropology (Volume 47, Issue 4, December 2019) dedicated to hauntology.

External links

• https://reynoldsretro.blogspot.com/2017/10/hauntology-ghost-box-label-frieze-2005.html
• Mark Fisher: k-punk: Hauntology Now. In: k-punk.abstractdynamics.org . 17 January 2006.