With the publication of Specters of Marx in 1993, Jacques Derrida redeemed a longstanding pledge to confront Marx's texts directly and in detail. His characteristically bravura presentation provided a provocative re-reading of the classics in the Western tradition and posed a series of challenges to Marxism. In a timely intervention in one of today's most vital theoretical debates, the contributors to Ghostly Demarcations respond to the distinctive program projected by Specters of Marx. The volume features sympathetic meditations on the relationship between Marxism and deconstruction by Fredric Jameson, Werner Hamacher, Antonio Negri, Warren Montag, and Rastko Mcnik, brief polemical reviews by Terry Eagleton and Pierre Macherey, and sustained political critiques by Tom Lewis and Aijaz Ahmad. The volume concludes with Derrida's reply to his critics in which he sharpens his views about the vexed relationship between Marxism and deconstruction.

The book addresses such issues as the work of Derrida and deconstruction, discourse theory, Eurocentrism and poststructuralism.

This book synthesizes Jacques Derrida’s hauntology and spectrality with affect theory, in order to create a rhetorical framework analyzing the felt absences and hauntings of written and oral texts. The book opens with a history of hauntology, spectrality, and affect theory and how each of those ideas have been applied. The book then moves into discussing the unique elements of the rhetorical framework known as the rhetorrectional situation. Three case studies taken from the Christian tradition, serve to demonstrate how spectral rhetoric works. The first is fictional, C.S. Lewis ’The Great Divorce. The second is non-fiction, Tim Jennings ’The God Shaped Brain. The final one is taken from homiletics, Bishop Michael Curry’s royal wedding 2018 sermon. After the case studies conclusion offers the reader a summary and ideas future applications for spectral rhetoric.

Asian American filmmakers and video artists have created a substantial, diverse, and challenging body of work that reimagines the cultural and political representation of Asian Americans. Yet much of this work remains unknown. Ghostlife of Third Cinema examines such potent issues as diasporic identity, historical memory, and queer sexuality through sophisticated readings of a wide range of film and video projects, includingTrinh T. Minh-ha's experimental documentary Surname Viet Given Name Nam;avant-garde works by Japanese American filmmakers Rea Tajiri, Lise Yasui, andJanice Tanaka; and queer videos exploring the intersection of race, nation, andsexuality by Pablo Bautista, Ming-Yuen Ma, and Nguyen Tan Hoang.

Worlds Within tracks the changing forms of novels and nations against a long, postcolonial twentieth century. While globalization has sometimes been understood to supersede national borders, this book distances itself from before-and-after sequences in order to trace the intersection between national and global politics. Drawing from psychoanalytic and deconstructive accounts of identity, difference, and desire, Worlds Within explores the making and unmaking of ideas of nation, globe, race, and gender in the late imperialism of Joseph Conrad, the anticolonial nationalism and nascent Third-Worldism of W. E. B. Du Bois and Frantz Fanon, and the decolonizing nationalisms and postcolonial cosmopolitanisms of novelistic descendants, such as the Indian and Indo-Caribbean writers Salman Rushdie, Amitav Ghosh, V.S. Naipaul, and David Dabydeen, the anglophone and francophone African writers Chinua Achebe, Nggi wa Thiong'o, Assia Djebar, and Tsitsi Dangarembga, and the Cuban postmodern novelist and theorist Severo Sarduy. Across this global field, national identity is subtended by transnational affiliations and expressed through diverse and intersecting literary forms.

Habit rules our lives. And yet climate change and the catastrophic future it portends, makes it clear that we cannot go on like this. Our habits are integral to narratives of the good life, to social norms and expectations, as well as to economic reality. Such shared shapes are vital. Yet while many of our individual habits seem perfectly reasonable, when aggregated together they spell disaster. Beyond consumerism, other forms of life and patterns of dwelling are clearly possible. But how can we get there from here? Who precisely is the ‘we’ that our habits have created, and who else might we be? Philosophy is about emancipation—from illusions, myths, and oppression. In Reoccupy Earth, the noted philosopher David Wood shows how an approach to philosophy attuned to our ecological existence can suspend the taken-for-granted and open up alternative forms of earthly dwelling. Sharing the earth, as we do, raises fundamental questions about space and time, place and history, territory and embodiment—questions that philosophy cannot directly answer but can help us to frame and to work out for ourselves. Deconstruction exposes all manner of exclusion, violence to the other, and silent subordination. Phenomenology and Whitehead’s process philosophy offer further resources for an ecological imagination. Bringing an uncommon lucidity, directness, and even practicality to sophisticated philosophical questions, Wood plots experiential pathways that disrupt our habitual existence and challenge our everyday complacency. In walking us through a range of reversals, transformations, and estrangements that thinking ecologically demands of us, Wood shows how living responsibly with the earth means affirming the ways in which we are vulnerable, receptive, and dependent, and the need for solidarity all round. If we take seriously values like truth, justice, and compassion we must be willing to contemplate that the threat we pose to the earth might demand our own species’ demise. Yet we have the capacity to live responsibly. In an unfashionable but spirited defense of an enlightened anthropocentrism, Wood argues that to deserve the privileges of Reason we must demonstrably deploy it through collective sustainable agency. Only in this way can we reinhabit the earth.

Theatre and Ghosts brings theatre and performance history into dialogue with the flourishing field of spectrality studies. Essays examine the histories and economies of the material operations of theatre, and the spectrality of performance and performer.

In crating a forum for a deeply hermeneutical consideration of the project of provincializing Europe, this book articulates an alternative grammar of global political thought. It shows that forms of global political thought are capable of residing simultaneously within as well as significantly beyond the boundaries of European thought.

Sophocles's classical tragedy, Antigone, is continually reinvented, particularly in the Americas. Theater practitioners and political theorists alike revisit the story to hold states accountable for their democratic exclusions, as Antigone did in disobeying the edict of her uncle, Creon, for refusing to bury her brother, Polynices. Antigone in the Americas not only analyzes the theoretical reception of Antigone, when resituated in the Americas, but further introduces decolonial rumination as a new interpretive methodology through which to approach classical texts. Traveling between modern present and ancient past, Andrés Fabián Henao Castro focuses on metics (resident aliens) and slaves, rather than citizens, making the feminist politics of burial long associated with Antigone relevant for theorizing militant forms of mourning in the global south. Grounded in settler colonial critique, black and woman of color feminisms, and queer and trans of color critique, Antigone in the Americas offers a more radical interpretation of Antigone, one relevant to subjects situated under multiple and interlocking systems of oppression.

This book offers new insights on socially and culturally engaged Gothic ghost stories by twentieth century and contemporary female writers; including Shirley Jackson, Angela Carter, Toni Morrison, Ali Smith, Susan Hill, Catherine Lim, Kate Mosse, Daphne du Maurier, Helen Dunmore, Michele Roberts, and Zheng Cho. Through the ghostly body, possessions and visitations, women’s ghost stories expose links between the political and personal, genocides and domestic tyrannies, providing unceasing reminders of violence and violations. Women, like ghosts, have historically lurked in the background, incarcerated in domestic spaces and roles by familial and hereditary norms. They have been disenfranchised legally and politically, sold on dreams of romance and domesticity. Like unquiet spirits that cannot be silenced, women’s ghost stories speak the unspeakable, revealing these contradictions and oppressions. Wisker’s book demonstrates that in terms of women’s ghost stories, there is much to point the spectral finger at and much to speak out about.