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Abstract
Psychoanalysis is often wrongly perceived to be uninterested in history. Yet, as the most comprehensive and sophisticated basis for the exploration of human consciousness, the field of psychoanalysis, from its inception to the present, has continued to offer unprecedented insights into how we perceive, record, and share the complexities of temporality. The aim of this article is to demonstrate, with the help of various works by Walter Benjamin—works in which his attunement with psychoanalytic concepts is of special interest—that all historical writing must yield, in one way or another, to the post-Freudian description of the unconscious and its role in elaborating historians' interest in the historical as such.

This essay explores the film collaborations of Franco-Egyptian filmmaker Safaa Fathy and Franco-Maghrebian philosopher Jacques Derrida, offering an extended reading of their court-métrage, Nom à la mer (2004)—a film about language, exile, and loss, made by a pair of wanderers both keenly interested in the spectral effects of translation as they haunt the filmic medium. Nom à la mer is a cinematic rendering of the French translation of Fathy's original, Arabic-language poem, recited by Derrida in voice-off as Fathy's camera focuses on a single, highly overdetermined site in a small Andalusian town. This essay reads the film as both an artefact of the pathos of translation and as a scene of valediction, played out by both collaborators on grounds simultaneously intimate and historical.