The Spectral Metaphor

Peeren, Esther

doi:10.1057/9781137375858

Cited by 70 publications

(8 citation statements)

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“…Following a preliminary conceptual review and discussion amongst the authors, it was decided to use ‘spectrality’ as the search term. Firstly, as illustrated in Table 1, spectrality incorporates relevant ideas such as ‘the ghost’, ‘haunting’, ‘the uncanny’ (Peeren, 2014). Secondly, albeit archaic, spectrality moves beyond other ideas: being a word freighted with rich scholarly traditions, spectrality evokes an important etymological link to vision and visibility, ‘to that which is both looked at (as fascinating spectacle) and looking (in the sense of examining)’ (del Pilar Blanco & Peeren, 2013, p. 2).…”

Section: Methodsmentioning

confidence: 99%

What lies beneath? Spectrality as a focal phenomenon and a focal theory for strengthening engagement with philanthropic foundations

Jung

Orr

2021

Int J Management Reviews

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Foundations are frequently referred to as a donor's dead hand, as a way to exert social, political, economic and cultural influence from beyond the grave. Building on this, our paper argues for a greater focus on and consideration of the significance of the spectral in philanthropy research and practice, particularly in relation to foundations. We argue that spectrality offers a focal phenomenon in philanthropy and a focal theory for moving foundation inquiry forward. Based on our systematic review of the social sciences literature on the spectral, we identify and offer four thematic clusters to frame insights about foundations in relation to relationality and decentring, narratives and representations, ethics and politics, continuity and change. Connecting foundation scholarship with existing debates about the spectral and vice versa, our work offers a basis for reflection and future research on the part of those immersed in the foundation world, and contributes to emergent scholarship about the spectral in organization and management studies.

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Section: Methodsmentioning

confidence: 99%

What lies beneath? Spectrality as a focal phenomenon and a focal theory for strengthening engagement with philanthropic foundations

Jung

Orr

2021

Int J Management Reviews

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“…Barthes notes that the author is a figure only in the past, the text and the author stand "on a single line divided into a before and after" (2001, p. 145). My ethical injunction is, therefore, continual and ongoing (Peeren, 2014). Through seeing the temporality of the text as Barad would-with the past, present, and future threading through one another-it becomes easier to account for and protect the voice of the author, among the other voices in the text assemblage, as these ghostly voices and presences still exist and surround.…”

Section: Section 3 Ghosts and Cuts: Acknowledging The Hauntologymentioning

confidence: 99%

Nomadic Ethics

Carter

2022

Art/Research International

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In response to Maureen Flint’s (2020) performance and essay, Fingerprints and Pulp, on the ethics of truncating and flattening research participants in qualitative research, I extend this ethical concern to the voices of scholars flattened in qualitative research and writing processes. Scholars cite for many reasons, but what is there that holds us to account for our treatments of academics that come before; how can we avoid flattening and abusing those we cite? Through endeavouring to recognise and protect ghosts and nomadic identities of those other than the author in the research and writing process, I propose a new way of re-animating and re-embodying the haunting, nomadic voices in cited texts, in order to minimise further, future truncations and limitations of the other in academic writing. Attending to the ghosts allows for more ethical and just behaviour towards those cited. Seeing the multitude of ghosts haunting scholarly work obliges more ethical behaviour toward those voices flattened in writing.

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“…52 Compared to Derrida's influential theorization of the spectre as a loca tion of an authoritative vision that is, however, tied to the perspective of the haunted subject, Bakhtin's dialogism, Peeren suggests, enables "a certain reciprocity, an attempt to acknowledge the ghost's own vision, a willingness to look at the world, and at oneself, through its eyes." 53 Indeed, Bakhtin's concept of outsideness involves an "excess of seeing," 54 which means that "in order to gain a coherent image of one's own self, one needs to have access to others' visions of one's exterior, and vice versa. This does not entail becoming the other or doing away with its otherness …, because after looking through the other's eyes, one always returns to one's own centre of vision."…”

Section: Spectral Outsidenessmentioning

confidence: 99%

“…This does not entail becoming the other or doing away with its otherness …, because after looking through the other's eyes, one always returns to one's own centre of vision." 55 Peeren's reading of spectrality through the concept of outsideness highlights the agency of those conceived as living ghosts (migrants, refugees, servants, and other marginalized subjects) and foregrounds the intersubjective possibilities of the spectral metaphor. A similar vision of agency in Chto Delat's film entails the image of a resilient matter (the revolutionary past that is "stomped into the ground" of the neo-imperial square and its current inhabitants) or the resilient bodies of zombies-people portrayed as active, inter acting with the world and the living, and carrying on their igniting power even while remaining invisible and neglected.…”

Section: Spectral Outsidenessmentioning

confidence: 99%

“…This performance opens up "the possibility that one may be the ghost one moment and ghosted or haunted the next-or both at the same time." 59 What is at stake in both performances is imagining possibilities of a new collectivity at a time when earlier forms are perceived as having failed and contemporary atomisation has become unsustainable. The positionality of outsideness-or engaged estrangement and resilience-is a starting point for these new constellations.…”

Section: A Revised Politics Of Outsidenessmentioning

confidence: 99%

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Of Tricksters and Zombies

Robbe¹

2020

Art and Activism in the Age of Systemic Crisis

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This chapter enquires into the complex conditions in which critically thinking artists find themselves in contemporary Russia, and the ways in which they carve out spaces for activist aesthetics, within their local situation as well as the global environment of uncertainty-the regime of what is nowadays called "post-truth."The strategies and tactics employed by the younger generation 1 of Russian artists seeking to maintain artistic freedom and dignity in the context of pervasive nationalism, state-supported neo-traditionalism, and an aggressive market economy recall some of the survival techniques that were used by artists who lived and worked during the late Soviet period. This recall, however, involves creative rethinking since the situation of increasing state control and isolation from the West, though reminiscent of the Soviet past, is also substantially different. Becoming part of an underground, as in Soviet times, 2 ceased to be an option as the state itself has appropriated postmodern techniques of ironic subversion, using them for cynically undermining the politics of truth. 3 This has largely disabled the non-conformist practices of ambiguity and transgression that had been developed during the late Soviet period. Beyond the changing configurations of power and mimicry on the national scale, it is necessary to consider transnational and global shifts of the political. Under the current conditions of globalized neoliberalism, "the place of modern liberal politics is dispersed," 4 which, along with pluralization of expression, involves the diffi culty of forming solidarities. At the same time, in Jean and John Comaroff's rethinking of the above perspective "from the South," the contemporary "capitalist imperium … has no real exteriors, … it has many peripheries." 5 For artists from global peripheries, this constellation provides mostly nation-bound and identity-based niches, both on transna tional and national markets, thus limiting their works' critical edge. 6 My readings of resilience practices in artworks engage the strategies of resisting these interlaced pressures of the state and the market.Such strategies require simultaneously being in-and outside the varied and intersecting discursive fields delineated by national and global powers. It is not unexpected, then, that in devising these strategies contemporary artists tap into the practices of late Soviet art and life which perfected borderline positionality-what Alexei Yurchak, 7 applying Mikhail Bakhtin's term vnenakhodimost, has called "inside/outside-ness" (following the English translations of Bakhtin's term as "outsideness," 8 I use this shorter version). Drawing on Mark Lipovetsky's conceptualization of tricksterism 9 as a central metaphor of Soviet and post-Soviet (particularly post-2000) culture of adaptation and survival, I read Kirill Savchenkov's installation The Horizon Community Memorial Centre as recalling and rethinking the work and life of late Soviet conceptual artists-and elabor ating new tricksterism.

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The Spectral Metaphor

Cited by 70 publications

References 0 publications

What lies beneath? Spectrality as a focal phenomenon and a focal theory for strengthening engagement with philanthropic foundations

What lies beneath? Spectrality as a focal phenomenon and a focal theory for strengthening engagement with philanthropic foundations

Nomadic Ethics

Of Tricksters and Zombies

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