Cryptomimesis: The Gothic and Jacques Derrida’s Ghost by Jodey Castricano

By Jodey Castricano

She develops the idea of cryptomimesis, a time period devised to house the convergence of philosophy, psychoanalysis, and sure "Gothic" stylistic, formal, and thematic styles and motifs in Derrida's paintings that supply upward thrust to questions relating to writing, interpreting, and interpretation. utilizing Edgar Allan Poe's Madeline and Roderick Usher, Bram Stoker's Dracula, and Stephen King's Louis Creed, she illuminates Derrida's matters with inheritance, revenance, and haunting and displays on deconstruction as ghost writing. Castricano demonstrates that Derrida's Specters of Marx owes a lot to the Gothic insistence at the energy of haunting and explores how deconstruction should be considered the ghost or deferred promise of Marxism. She strains the circulate of the "phantom" all through Derrida's different texts, arguing that such writing offers us with an uneasy version of subjectivity since it means that "to be" is to be haunted. Castricano claims that cryptomimesis is the version, process, and idea at the back of Derrida's insistence that to profit to reside we needs to the way to speak "with" ghosts.

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Additional resources for Cryptomimesis: The Gothic and Jacques Derrida’s Ghost Writing

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When Derrida finally noticed the word, he was shocked to realize he had just “discovered, in truth … just remembered what must have been haunting [his] memory” (4). Where his reading of Marx becomes a “complex translation process” it comes in the form of a phantom: “I knew very well there was a ghost waiting there” (4). ” In Gothic fiction and film, what “achieves utterance” is also, generally speaking, that which horrifies. It horrifies because it is unspeakable and it haunts for the same reason.

An interiorizing idealization then concludes the work of mourning through an act of assimilation – an introjection – which, through what Derrida calls, “faithful interiorizaton,” expands the self. The fantasy of cryptic incorporation differs from introjection in that the lost object is not assimilated but is sustained in some way. This is cryptomimesis. Judith Butler draws attention to the difference between introjection and incorporation in her discussion of melancholy, “which denotes a magical resolution of loss,” versus mourning: Abraham and Torok suggest that introjection of the loss characteristic of mourning establishes an empty space, literalized by the empty mouth which becomes the condition of speech and signification.

29) In the “Envois,” the phantom returns to haunt because it must signify the loss which is the result of refused mourning. In this sense, what “speaks” in the “Envois” is writing itself, already occupied by the other: “You give me words, you deliver them, dispensed one by one my own, while turning them toward yourself and addressing them to yourself” (12). ” In these terms to be is to be haunted, if not by the dead, then by what Nicholas Rand refers to as “their lives’ unfinished business [that] is unconsciously handed down to their descendants” (The Shell and the Kernel 167).

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