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This article proposes an exploration of the phenomenon of media addiction as the expression of a haunting: the re-emergence of nostalgia for presence and materiality. Relying on Jacques Derrida's hauntology and Karen Barad's neomaterialist theory, media addiction is refigured as an unavoidable human-technology bond that politics of life cannot escape.

1.Introduction: "Avaunt! and quit my sight! let the earth hide thee!" Loss;Guilt;The Uncanny;Derridean Hauntology;Recent Hauntology Studies;Outline of the chapters -- 2. "Penelope was not a phantom": Everyday Hauntology in Alice Munro and Margaret Atwood:Margaret Atwood, "Death by Landscape"Surfacing -- 3. "His eye spoke less than his lip": Hauntology, Vampires and the Trace of the Animal in John Polidori's The Vampyre, John Ajvide Lindqvist's Let the Right One In, Octavia E. Butler's Fledgling and Guillermo del Toro's Cronos.;Let the Right One In;Fledgling;Cronos -- 4. "Nothing is but what is not": Spectral Temporality and Hauntology in Selected Works by Edgar Allan Poe;"The Tell-Tale Heart";"The Imp of the Perverse";"The Black Cat";"The Gold Bug" -- 5. "[T]he grey pool and its blank haunted edge": The Hauntology of Indeterminacy in Henry James's The Turn of the Screw -- 6. "Light is dark and dark is light": H. P. Lovecraft and Hauntology as Epistemological Desire -- "The Lurking Fear";"The Music of Erich Zann";"The Haunter of the Dark";The Believing Atheist -- 7. "What she had seen was final": Everyday Hauntology, the Threat of Male Violence and the Power of Fiction in Alice Munro's "Free Radicals", "Runaway" and "Passion";"Free Radicals";"Runaway";"Passion" -- 8. Concluding Remarks: "I can feel my lost child surfacing within me".

Drawing upon a cultural-historical reading of the witch, we discuss how modern capitalism is chronically haunted by obstreperous vestiges of what preceded it yet remains proficient in assimilating all that returns to challenge it. By adapting and extending a theoretical toolkit informed by Jacques Derrida and Mark Fisher, we trace market and state administrators' co-optation of the primeval witch figure and her ideological trappings: initially, to expropriate those who threatened incipient modernising structures; later, to provoke increasingly secularised subjects towards consumption; and eventually, to calibrate rather than obviate capitalist expansion so that it remains aligned with consumer interests. Introducing the new concepts of 'retrocorporation' and 'marketplace revenant', we discuss how long-foreclosed, ancient imaginaries become re-invoked and re-programmed to perpetuate capitalism's dominance. Our message for the nascent tradition of 'Terminal Marketing' is that the collision and collusion of past and future has the potential to ossify capitalist realism in the present.

Argues that Jacques Derrida's Specters of Marx: The State of the Debt, the Work of Mourning, and the New International (P. Kemuf's Tr from French, 1994 [1993]) is best understood by Marxists from three perspectives: (1) Derrida's intervention not only in a scholarly context, but also in the political context of the end of the Cold War; (2) his advancement of a form of true socialism over & against versions of revolutionary socialism; & (3) his failure to offer socialists an effective strategy for contemporary political struggles. Derrida repudiates working-class revolution & proposes a reformist socialism precisely at the end of a period in which the political & moral hollowness of traditional social democracy has been revealed. His proposal is taken to represent a form of "hauntology" that does little to clarify the nature & position of class oppositions in the contemporary historical moment. As such, it is contended that his argument does more to demonstrate the need for a return to classical Marxism & its tradition of revolution from below more than anything else. 51 References. D. M. Smith

Are there forms of violence that are likely to expand our possibilities? Usually we associate political violence with terror and repression, i.e. with forms of violence that lead to the restriction of possibilities or to the consolidation of social conditions. In this article, I examine various approaches that promote the use of grassroots based political violence as midwife of expanded possibilities and discuss different shortcomings of these approaches. In the second part of the article I suggest that today, the use of legitimate political violence that seeks to enable new possibilities has more to do with poetry and poiesis than with the use of raw force. I show how this notion of symbolic violence, among others, applies to the example of pieing.

This paper unravels the idea of the 'ghost town' - and more specifically the deserted district of Varosha, Famagusta - as it relates to heritage, questioning the discursive dynamics and affective potential of what can seem a trite and therefore hollow phrase. Drawing on apposite theories of hauntology (Derrida 1993) and the ghosts of place (Bell 1997) I argue that there is a dense back-and-forth between two distinct positions in this term, both of which play into wider heritage processes. The first understands the ghost town as an empty if uniquely atmospheric space, ripe for development or 'dark tourism' (Lennon and Foley 2000). Heritage is implicated here in the protection and promotion of sites which may be perceived as 'ruin porn' - by turns melancholy and exhilarating but fundamentally removed from contemporary life. The second position unsettles this reading by focusing on the complexities of the very word 'ghost', here understood as 'the sense of the presence of those who are not physically there' (Bell 1997: 813). From this perspective, common heritage practices (including collecting, exhibiting and narrating) might be seen as an attempt to psychologically re-inhabit vacant places, a process which takes on extra significance around the highly politicised context of Varosha. Through fieldwork, archival research and intertextual and visual analysis I track the description of Varosha as a ghost town across journalism, contemporary art and diasporic discourse, in the process anatomising this spectral designation to reconceptualise its wider relevance to heritage.

This paper unravels the idea of the 'ghost town' - and more specifically the deserted district of Varosha, Famagusta - as it relates to heritage, questioning the discursive dynamics and affective potential of what can seem a trite and therefore hollow phrase. Drawing on apposite theories of hauntology (Derrida 1993) and the ghosts of place (Bell 1997) I argue that there is a dense back-and-forth between two distinct positions in this term, both of which play into wider heritage processes. The first understands the ghost town as an empty if uniquely atmospheric space, ripe for development or 'dark tourism' (Lennon and Foley 2000). Heritage is implicated here in the protection and promotion of sites which may be perceived as 'ruin porn' - by turns melancholy and exhilarating but fundamentally removed from contemporary life. The second position unsettles this reading by focusing on the complexities of the very word 'ghost', here understood as 'the sense of the presence of those who are not physically there' (Bell 1997: 813). From this perspective, common heritage practices (including collecting, exhibiting and narrating) might be seen as an attempt to psychologically re-inhabit vacant places, a process which takes on extra significance around the highly politicised context of Varosha. Through fieldwork, archival research and intertextual and visual analysis I track the description of Varosha as a ghost town across journalism, contemporary art and diasporic discourse, in the process anatomising this spectral designation to reconceptualise its wider relevance to heritage.