Titlebook: Hauntology; The Presence of the Katy Shaw Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Derrida.Phenomenology.Hauntiny.Gh

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chisel

,Chapter 3 ‘Ghostpitality’: Specters of the Self in Zadie Smith’s , (2012),that demonstrate the consequences of offering unconditional hospitality to the specter. Beginning with a titular concern with space and place, . goes on to establish an extensive exploration of spectral topographies that are mobilized by its various narratives to explore the agency of the past in the present.

Biguanides

,Chapter 4 Authorial Afterlives: Ghost-writing in David Peace’s , (2018),ion of the specter generates questions regarding identity and existentialism in Peace’s protagonist. Across the text, the spectral takes many forms, functioning to highlight the unexpected nature of the return, and to raise questions about the self and the Other, the individual and society, and understandings of our historical situatedness.

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Katy Shawe and their combined effects on the environment. Compared with the local issues of the previous era, the scale and cost of each problem are very high. When a good understanding is reached, there may still be delays in reaching the necessary international consensus for effective action.

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Book 2018mediate past. The critical practice of hauntology turns to the past in order to make sense of the present, to understand how we got to this place and how to build a better future. Since the Year 2000, popular culture has been inundated with representations of those who occupy a space between being a

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陰謀

Introduction. Hauntology: Ghosts of Our Lives,d years on, England has become a haunt for the specters of its most recent past. The existence of this Pivot is a timely reminder of the ever growing and changing field of critical and popular enquiry on hauntology. Hauntology destabilizes space as well as time, and encourages an ‘existential orient

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,Chapter 1 The (Spectral) Turn of the Century in Simon Armitage’s ‘Killing Time’ (1999), combine to bring recent?events into a new focus. Highlighting the contested space and time of historical record, and of the literary, the chapter explores how and why emergent structures of feeling haunt Armitage’s ostensibly celebratory poem, casting long shadows over humanity’s perceived lack of