The disavowal of spectrality
in Smith becomes the necessary condition for preserving the status quo or, as Levin states, to sustain "the ontological stability of the bourgeois subject" (2013, 46).
I use this term to designate the poetics by which a literary work articulates its ethical concerns through tropes of spectrality
While confirming the popularity of ghost plays on the Romantic-period stage, Mary Shelley's accounts testify to the sustained investments by playwrights and managers in new ways of combining spectrality
with the acting style and increasingly striking spectacular effects of melodrama in the 1820s, the decade that, in Matthew Buckley's words, saw "the genre's emergence as a dominant dramatic form.
is not everything that can define what is not logocentric.
The theoretical vocabulary of Gothic Music, impacted by Jacques Derrida and his deconstructive interpretation of spectrality
as a pervasive cultural condition in Specters of Marx: The State of Debt, the Work of Mourning and the New International (Routledge, 2006), is leveraged against a vast and heterogeneous archive.
However, Trowbridge (English, Birmingham City U) has carefully analyzed her work and called out its inherent spectrality
This effect may heighten the haunting spectrality
of the letter for the reader, but it also makes Ashley's version of the story of the South much more susceptible to Scarlett's particular brand of resistance.
Both forms of unworldly female eroticism must ultimately be exorcised from the text in the attempt to restore stability and banish a dangerously fluid spectrality
, which threatens acceptable gender boundaries.
Following Peter Buse and Andrew Stott's line that "it is more rewarding to diagnose the persistence of the trope of spectrality
in culture", questioning how tales of the ghost of Sarah Macready have been constructed, embraced and circulated reveals significant patterns of engagement between theatrical history and contemporary performance (3).
I read Faulkner's ghosts at the crossroads between Avery Gordon's theory of sociological haunting (which places the ghost as a repressed reminder of something that has been ejected from the social imagination, an absence that finds presence by speaking to the living) and Jacques Derrida's theory of hauntology or spectrality
(which locates the ghost as the always contemporaneous, always present non-presence that reveals the fundamentally fractured condition of the present).
Reminiscent of the dead child in Oller's painting El velorio, Munoz refuses to remain dead, achieving a spectrality
that returns to haunt the figure of the author, whose efforts to exorcise the specter concurrently turn into its conjuration, an invitation to inhabit the text.
Marx's (1977:128) theorization of the spectrality
of the social (gespenstisch Gegenstandlich) predicates itself on just the historical specificity of "society" at stake here.