HAUNTOLOGIES

In memoriam, in mente.

“To learn to live 'with' ghosts, in the upkeep, the conversation, the company, or the companionship, in the commerce without commerce of ghosts... No 'being-with' the other, no 'socius' without this 'with' that makes 'being-with' in general more enigmatic than ever for us. And this being-with specters would also be, not only but also, 'a politics' of memory, of inheritance, and of generations” (1993, Derridá).

Hauntology is a spectral event. It is the appearance of a ghost, not as repetition or recreation of the past, but as the staging of a presence that challenges the living in the present. It is a historical event; it is also a theatrical event.

The French philosopher Jaques Derridá takes up the Shakespearean tragedy of Prince Hamlet to stop at the figure of the ghost: at nights a shadow appears claiming the name of the dead king. We know that the prince's father does not appear in Kronborg Castle only as a recreation of what he was, but with the enunciation of two novelties: the revelation on the motives of his own death, the murder, and the claim for revenge. This manifestation of the past with a strong sense of representation is poured over the future. However, it does not come back to life. It is not a manifestation of memory or a mere exercise of imagination; claims, in turn, decided acts. It is a hauntology. 

 

We observe the emergence of Hauntologies in everyday life, sometimes as coincidences produced by the context and sometimes as intentional evocations. As historical events, they are real. They owe their power not only to memory but to their ability to articulate themselves, to manifest themselves in the world and have a voice to talk about the future.

There are certain moments in history when time seems 'out of joint'. When the deads have not been able to leave a legacy, when the circumstances of their disappearance have not been clarified, when the bodies are thrown on the earth as unintelligible signs and the walls of the buildings seem covered with shadows; we know there are ghosts. But how to listen to them? But above all: why to listen to them?

 

Since 2015 the Stultifera Navis Institutom develops with the "Teatro para el fin del Mundo' program,  Hauntologies projects through multidisciplinary research workshops.

c@stultiferanavis.institute

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