Déjà vu : aberrations of cultural memory by Peter Krapp

By Peter Krapp

Concerning a prior that by no means used to be, déjà vu stocks a constitution not just with fiction, but in addition with the ever extra subtle results of media expertise. Tracing the time period from the top of the 19th century, while it used to be first popularized within the pages of the Revue philosophique, Peter Krapp examines the family tree and background of the singular and unrepeatable adventure of déjà vu. This provocative publication deals a clean counterpoint to the clichéd celebrations of cultural reminiscence and forces us do a double tackle the sanctimonious warnings opposed to forgetting so universal in our time.

Disturbances of cultural memory—screen thoughts, fake recognitions, premonitions—disrupt the relaxation sector of memorial tradition: strictly conversing, déjà vu is neither a failure of reminiscence nor a kind of forgetting. Krapp’s research of such disturbances in literature, artwork, and mass media introduces, historicizes, and theorizes what it potential to talk of an economic system of consciousness or distraction. achieving from the early psychoanalytic texts of Sigmund Freud to the performs of Heiner Müller, this exploration of the consequences of déjà vu pivots round the paintings of Walter Benjamin and contains readings of kitsch and charisma in Andy Warhol’s paintings, of cinematic violence and sure exaggerated claims approximately taking pictures and slicing, of the memorial personality of structure, and of the excessive expectancies raised by way of the web

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On the other hand, it could be that it is indeed the SECRET AGENTS satisfaction of the analyst he wishes to foreground at this point. Why would that be plausible? Either he could be of the opinion, at the time of the exchange or later in representing the case, that the analysand is entering a new circle of error and inquiry—analysis interminable, effect without a pause. Or he might be “playing” the role of the analyst, “playing” with the case, precisely giving pause by pretending that it is the satisfaction of transference, after all, that is at the heart of analysis.

This is probably not to be expected from a perfectly rational being, but is as possible as its opposite. Two further distinctions can be helpful. 28 It is important to differentiate between make-believe, or pretense, and self-deception; the former is based on a suspension of disbelief, while the latter potentially affects a person’s judgment. Superficially there may be nothing paradoxical about holding contradictory beliefs, yet when they commence to have contrary effects that tend to block one another, we are no longer able to dismiss the symptoms as consequences of being naive or careless.

Similarly, if the unconscious gets ahead of itself, as it were, to the extent of hiding from consciousness not only the defense but also the means of repression, trying to cover its traces, then how shall we account for this latter defensive maneuver of keeping from consciousness the initial defensive maneuver? To adopt such a covering of the cover is thus never to make the cover-up itself explicit, thus hiding the cover-up better than what is to be hidden by it in the first place. 59 This echoes precisely Freud’s complex formula for the psychopathological slip that hides behind amnesia: the reduplicating paramnesia and amnesia are in a complementary relation to one another.

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