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This dissertation combines performance analysis, rhetorical criticism, and psychoanalytical theory to analyze three performance “texts” as sites of haunting in post-9/11 America: Tony Kushner’s 2001 U.S. debut of Homebody/Kabul, the Broadway musical Wicked, and ABC’s television drama Lost. It contributes a nuanced, theorized reading of the civil implications of post-9/11 popular American culture as “more than memory” by demonstrating how these performances suggested “what might be” in ways that subverted Bush’s responses to the attacks. The first chapter reads Homebody/Kabul against the national addresses delivered by Bush in the first weeks after the attacks and argue that the 2001 New York Theatre Workshop performance created a space for audiences to reconsider the version of “mourning” encouraged by the Bush administration. The type of mourning modeled/enabled by Homebody/Kabul, I assert, is different from that against which Derrida warns. Rather than “silencing ghosts” (Gunn 82) through the integration of loss, Homebody/Kabul makes a space for conversing with, and models living with, ghosts. The second chapter argues that the Wicked’s Ozians are stuck in a state of melancholia, refusing to speak to/with the ghost of Elphaba. Because they refuse to reckon with Elphaba, they literally finish exactly where they began—with “No One Mourn[ing] the Wicked.” By reading Wicked against the celebratory rhetoric of the Bush administration after declaring “Mission Accomplished” in Iraq, we can understand the way the United States as a nation was (and may still be, in 2010) haunted by the Bush administration's failure to lead the nation in mourning effectively and ethically and by its incessant rhetoric of evil. The third chapter advocates for Lost as a hauntological reckoning with 9/11 that models ethical witnessing as a potentially generative meeting of human beings across cultures at the site of trauma. An alternative to the fear that the Bush administration encouraged leading up to Lost’s premiere and through its final season, ethical witnessing as modeled on Lost suggests that civilization stands to thrive where difference is honored—and risks toppling into chaos where the alternative “us against them” mentality (Other anxiety) prevails. / text

After Chairman Mao's death, in the late 1980's, Mao was removed from official government communications and his iconography transformed from having a specific meaning generation role linked to Maoist ideology, to becoming available for use as a commodity. In this research I use cultural theorist Jacques Derrida's theory of Hauntology and the deconstruction method to analyse a representative Chinese Propaganda poster, "Melody of Youth, Beautiful Soul", in order to ascertain the effect Mao's death had on the Iconography of Chairman Mao, and how Mao is ideologically transformed during this period. Analysing the painting I found specific symbols associated with the iconography of Mao that had been adopted and transformed for the purposes of the CCP. These symbols both suggested the presence of Chairman Mao, as well as negated that presence through being co-opted for other purposes. Using these symbols and writings about the period I deduced that during this period the CCP had to rely on existing symbols of power and authority in order to communicate and legitimise regime change whilst maintaining the semblance of continuity. At the same time they had to decouple these symbols from their original meanings in order to distance themselves from the past and redefine the ideology of China. In the process, Mao's iconography was decoupled from its Maoist ideological heritage and transformed into abstract symbols of power, doctrine and so on. This means that the transformation had made them available to use as an "open basket" into which new, related meanings could be placed – including serving as a commodity. / 中文摘要:毛主席是中国历史上最有名的文化偶像之一。他的思想是中国共产党的根本基础。作为一个偶像，毛泽东在中国现代文化中是一个很重要的象征意义成分，代表着权力、中国共产党、毛泽东思想等等。 在八十年代，当毛主席死后，毛泽东作为偶像在宣传画中逐渐消失，同时也被商品化了。为了解释毛泽东作为文化偶像的影响,以及毛泽东思想在此时期的转变，本文会运用文化理论家雅克·德里达的?幽灵学?（Hauntology)和解构主义学的方法，对一具代表性的宣传画《青春的旋律，优美的心灵》进行分析。 通过分析，我们可以发现一些与毛主席有关的符号,例如：书，原子符号，光等等。这些与毛主席有关的符号，为了满足中国共产党的宣传目的，已经被转变了。而由于这些符号与毛主席有关，它们便意味着毛主席仍存在于文本中，但是因为这些符号被转变了，他们也意味着毛主席在文本中的缺席。 分析这段时间所使用的这些符号，以及阅读关于?四个现代化?的文章， 我发现，在?四化?时期，为了传达政权转换的合法性，以及保持其政权连续性的假象，不得不依靠已经存在的政治符号。同时为了把实用主义放在政治理论的核心中， 他们也要从旧的思想限制中解放出来，所以他们需要把某些与毛泽东有关的符指从符征里分离出来。 在过程中，偶像毛泽东转变成一种开架商品，各种意识形态都可以藉由毛泽东来贩卖。

This thesis gives a definition and chronology of city pop and places it within the context of Japanese history. City pop can be traced from the 1960s folk movement in Japan until its demise in the early 1990s, coinciding with the end of the bubble economy. This thesis also examines the mid-2010s resurgence of interest in city pop among English-speaking internet users, beginning with a nostalgic rediscovery and curation of city pop around the turn of the century by DJs in Japan known as “crate diggers.” City pop was then transmitted to the West through sampling in hip-hop and especially within the internet-based genre of vaporwave. The character of vaporwave is one of dystopia and is highly contrasted with the breezy, optimistic sound of city pop. City pop was eventually discovered in the late-2010s by a wider international audience through YouTube, largely due to the suggestion algorithm and the sudden popularity of Takeuchi Mariya’s “Plastic Love.” This thesis will define nostalgia in relation to music and show in what ways it has been present as a factor throughout the history of city pop.

Uppsatsen syfte är att undersöka en esoterisk bildtradition som en separat bildvetenskap utifrån en diskursanalytisk metod. Frågan ställs hur denna bilddiskurs formerats, om vi kan identifiera en särskild estetik och hur vår bild av den har tillkommit. Uppsatsen undersöker här omgivande narrativ och utsagor. Vidare undersöks samtidskonstens intresse för den esoteriska bildtraditionen där historiska material aktualiseras i nya kontexter, men även dess intresse för aktualisering av en historisk estetik i nya verk. Som utgångspunkt i undersökningen står tolv målningar funna i frimurarordens arkiv för drygt tio år sedan, troligtvis gjorda av hertig Karl, senare kung Karl XIII, och som var en del av den esoteriska krets vid Stockholms slott som hertigen underhöll. Uppsatsen undersöker hur vi utifrån ett samtida perspektiv kan se på dessa målningar som en del av en historisk esoterisk bildtradition men även som rekontextualiserade idag.  Vidare undersöks olika begrepp för hur temporaliteter kan skapas och verka när en estetik fortlever oberoende av tid och plats. Undersökningen visar att det historiska textuella material som ligger till grund för de esoteriska bilderna är centralt för hur denna estetik har utvecklats och överlevt. Vidare visar undersökningen att denna estetik genom sin fortlevnad i samtiden kan identifieras som ett ikoniskt tecken för esoterismen.

本文旨在探討魯迅思想中言語道斷的、前語言的（pre-discursive）「肉體」（corporeal）成份，其表現方式，及其發展。從知覺現象學角度看，「肉體」生命意指在世存有與生活世界間不依賴語言的本真互動，魯迅所以認為中國人有被世界淘汰的危機，就是因為中國人日漸喪失這一在世存有的本真能力。本文第一章通過魯迅的女性觀來探討肉體生命的社會層次，女性是魯迅反瞻男性乃至人類處境的鏡子，他看到不僅女性被男性宰制為必然，女性對男性的宰制亦不可避免。二章藉魯迅的死亡觀來檢討肉體生命的自然層次，死亡的終極否定力量對魯迅有本體論、認識論乃至方法論的意義，使他產生跨越生死的責任感，具備察見不詳的認識力，以至追求正義的復仇行動力。第三章探討魯迅表現人與生活世界間本真互動的書寫策略，魯迅企圖通過解剖與挖底的書寫、吃與被吃的書寫、綻出式的還原書寫，即描寫與「自性」不可須臾離的肉體的本來面貌，去自我批判，去對抗語言、意識形態的堡壘，以保存生命原始純真的最後陣地。第四章討論形成魯迅肉體生命意識在其生命歷程中的發展，即通過「幻燈片事件」的死亡體驗與中國傳統決裂，通過靈肉合一的愛情與啟蒙陣營決裂，與通過永遠的反抗與左翼文人決裂，終於回歸孑然孤獨的肉身。魯迅的國民性批判的動力來自於他永遠選擇以自我批判開放自己的生命，選擇在既成的僵化體制之間找出路，以死為生，像死神那樣永不止息。 / This dissertation discusses corporeal, ie., pre-discursive element in Luxun’s thought, its presentation and its development. From the perspective phenomenology of perception, corporeality means authentic, extra-lingual interaction between being-in-the-world and life-world itself. For Luxun, Chinese’ gradual deviation from and inability to appreciate this authentic interaction are their true crisis of extinction in modern world. The 1st chapter discusses social level of corporeality through Luxun’s perception of women. Women are a mirror for Luxun with which to reflect upon men’s even human’s condition. Through women he discovers not only the inevitability of men’s domination over women, but also that of women over men. The 2nd chapter examines natural level of corporeality through Luxun’s appreciation of death. The ultimate negating power of death empowers Luxun ontologically, epistemologically, and methodologically. From death he derives a transcendental sense of responsibility across life and death, develops an ability to penetrate pleasing appearance to uncover inconvenient truth, and a determination to pursue justice through endless revenge. The 3rd chapter shows Luxun’s tactics of presentation of corporeality. He seeks to preserve authenticity of life, a liberation from linguistic and ideological shackle through self-criticism by means of writing on the subject of anatomy and excavation, cannibalism, and self-manifestation, ie., writing on corporeal body that is indispensable with selfhood. The 4th chapter discusses the diachronic development of Luxun’s awareness of corporeality through various stages or series of contradictions in his life. At the end of his life, Luxun returns to his lonesome corporeal body after his breakup with Confucius tradition in 1906, with intellectual enlightening camp in 1920s, and finally with left-wing writers in 1930s. Luxun’s strength of criticism on weakness of Chinese characteristics comes from his relentless self-criticism and therefore open-mindedness, his persistence to search for a way out of lethargic institutions, in other words, his emulation of death.

Ce mémoire est une lecture hantologique du roman The Double Hook de Sheila Watson. Une telle lecture accorde une importance particulière aux fantômes et aux spectres qui se trouvent dans un texte ou qui le hantent. La hantologie étant un mouvement de pensée introduit par Jacques Derrida dans Spectres de Marx, cet ouvrage de Derrida se veut à la fois un point de départ et un site important de mon analyse auquel je retourne tout au long de ce mémoire. De plus, à travers les écrits de plusieurs spécialistes de la littérature canadienne-anglaise tels que Marlene Goldman, Margaret Turner et Cynthia Sugars, ce mémoire explore ce que le roman de Watson permet de découvrir à propos de ce qui hante l’imaginaire collectif canadien. Dans une première partie de ce mémoire, je concentre mon analyse sur les spectres textuels qui hantent les pages du roman de Watson. Les mythes autochtones, les récits chrétiens, les conventions du ‘Western’ et du roman régional, ainsi que les traces de plusieurs textes modernistes, semblent hanter la structure du roman et l’utilisation du langage qui crée l’histoire présentée par Watson. Dans le deuxième chapitre de ce mémoire, mon analyse se tourne vers les fantômes et les personnages fantomatiques qui existent dans le monde fictionnel créé par Watson. Les personnages tels que la mère de la famille Potter et Coyote sont fréquemment associés aux tropes du gothique et lus comme étant des spectres et ce sont de telles lectures qui ponctuent mon analyse de cet important roman. / This thesis consists of a study of haunting, both at the textual and fictional level, in Sheila Watson’s The Double Hook. In this hauntology of the novel, I explore the texts and cultural archetypes that haunt Watson’s novel as well as the ghosts, spectral figures, and haunting spaces and places represented in the novel. The theoretical movement of hauntology introduced by Jacques Derrida in Specters of Marx is a fundamental work in contemporary studies of the tropes of the Gothic and of a more generalized haunting that threatens notions of stability in our understanding of existence. Moreover, the haunting figures and texts in Watson’s novel subvert the heterogenous conception of a national discourse in Canada. The insights provided by scholars such as Marlene Goldman, Margaret Turner, and Cynthia Sugars, who are concerned with what Watson’s use of spectral figures in her narrative accomplishes in relation to writing the settler-colonizer nation of Canada, contribute to informing my argument about the place Watson’s novel occupies in the Canadian collective imaginary. In the first chapter of this thesis, I focus on the textual hauntings in the pages of Watson’s novel. Indigenous myths, Christian rituals, conventions of the western and regional novel, and modernist texts haunt the novel’s structure, content, and the language that constitutes it. In the second chapter of this thesis, I direct my attention towards the haunting and haunted figures that exist in the world created by Watson. In both chapters, my goal is to converse with the specters I see in the novel, to give a voice to what is not explicitly said and to find what lies between the fragments of Watson’s experimental prose.

Die Arbeit nutzt Konzeptionen des „multidirektionalen Erinnern“ in Verbindung mit einer kulturwissenschaftlichen Urbarmachung psychoanalytischer informierter Bildermontagen, um eine Serie von acht Fotos, die der afroamerikanische Soldatenfotograf William A. Scott, III 1945 in und um das Konzentrationslager Buchenwald gemacht hat, mit anderen Bildern rassistischer Gewalt und der Shoah zu konstellieren. Mir ist es einerseits um die eigentümliche (A)Visualität von Verschränkungen und Relationalitäten der 8 Bilder mit rassistischer Gewaltgeschichte und Shoah zu tun, andererseits um einen ästhetischen Möglichkeitsraum von Relationalitäten rassistischer, afroamerikanischer Gewaltgeschichte und Shoah anhand von derlei Bildermontagen. Es tritt also Unsichtbares, ja sogar eine Visualität ohne Sichtbares in den Blick. Zugleich treten die Montagen in ihrem Gemacht-Sein hervor, ihr Konstruktionsprinzip stellen sie so wie die eigentliche Bilderfolge gleich mit zur Disposition. Verbindungsstück der Bilder und ihrer Montagen sind Operationen, die entweder an oder in den Bildern zu sehen sind. Diese Operationen strukturieren die einzelnen Kapitel, je zwei der acht Fotos stehen dabei im Zentrum. In den Montagen leiten mich drei Ideen: die Operationalität der Bilder, genauer die Idee des Sendens im Anschluss an Derrida, das „Meta-Konzept“ Spektralität, insbesondere im Hinblick auf die Konzeption von Avisualität, anknüpfend an die Überlegungen Akira Mizuta Lippits / The work utilizes concepts of "multidirectional memory" in conjunction with a kulturwissenschaftliche reclamation of psychoanalytically informed montages, in order to create a constellation of images of racist violence and the shoah with the eight photographs taken by the African-American soldier photographer William A. Scott, III 1945 in and around the Buchenwald concentration camp. On the one hand, I am concerned with the peculiar (a)visuality of entanglements and relationalities of the eight images with racist history of violence and the Shoah, and on the other with an aesthetic space of possibility of relationalities of racist, African-American history of violence and the Shoah on the basis of such image montages. The invisible, even a visuality without the visible, comes into view. At the same time, the montages emerge in their fabrication, their principle of construction, like the actual sequence of images, is put up for discussion aswell. Connecting the pictures and their montages are operations that can be seen either on or in the pictures. These operations structure the individual chapters, with two of the eight photos at the center of each. Three ideas guide me in the montages: the operationality of the images, more precisely the idea of sending following Jacques Derrida, the "meta-concept" of spectrality, and finally, the concept of avisuality, following on from Akira Mizuta Lippit's considerations.

Hauntology Man, a 48-minute documentary, follows former UNT Professor, Dr. Shaun Treat, as he leads a walking ghost tour of downtown Denton, Texas. As the expedition moves from storefront to storefront, each stop elicits a new tale. But, as Dr. Treat points out, the uncertainties of history are the real ghosts. That is, rather than simply presenting a "haunted history" of Denton, it's more accurate to say this movie's center resides at the precipice of a "haunting history." Not all ghost stories need spectres. Sometimes not knowing is ghost enough.

This thesis explores French philosopher Jacques Derrida’s ’hauntology’ through the lens of digital monsters and feminist theory. Hauntology – a pun on ‘ontology’ and ‘haunting’ – offers an ethics based on responsibility towards that which cannot be said to fully exist, yet has an effect on our everyday lives nonetheless. Like the figure of the ghost, such undecidable existences are neither absent nor present, here nor gone, of the past or the future. In other words: they haunt. By engaging with hauntology through contemporary stories of digital monsters – such as The Curious Case of Smile.jpg, Welcome to Night Vale and Mushroom Land TV - the thesis discusses how such troubling hauntings might be imagined, and what it means to think an ethics based on responsibility towards the undecidable. In this way, the thesis brings together hauntology and digital media, arguing that thinking with and through the figure of the ghost as well as the digital monster may lead to different and critical ways of imagining both the world and ethics. In short, drawing upon feminist theory and creative writing, the thesis maps out a relational ethics of hauntings and internet story-telling. / Denna avhandling utforskar den franske filosofen Jacques Derridas ’hauntologi’ genom digitala monster och feministisk teori. Hauntologi - en ordlek på ontology och haunting - erbjuder en etik som bygger på ansvar gentemot det som inte kan sägas helt existera, men ändå har en effekt på vårt dagliga liv. Liksom figuren ’spöket’ är sådana obestämbara existenser varken frånvarande eller närvarande, här eller borta, i det förflutna eller framtiden. Med andra ord: de hemsöker. Genom analyser av samtida berättelser om digitala monster - som The Curious Case of Smile.jpg, Welcome to Night Vale och Mushroom Land TV - diskuterar avhandlingen hur sådan oroande hemsökelser kan bli föreställda, och vad det innebär att tänka en etik baserad på ansvar gentemot det obestämbara. På detta sätt sammanför avhandlingen hauntologi och digitala medier ihop för att argumentera att akten att tänka med och genom spöket som figur och det digitala monstret kan leda till annorlunda och kritiska sätt att föreställa sig både världen och etik på. Avhandlingen bygger på feministisk teori och kreativt skrivande för att utforska en relationell etik baserad på hemsökelser och internet-berättelser.