CiNii Books - Deracination : historicity, Hiroshima, and the tragic imperative

Through a critique of history—as a reality, a discipline, and a way of writing—Deracination challenges the basic theoretical tenets of both humanism and postmodernism. As a discipline, history is currently undergoing what Heidegger would call a productive "crisis," and a number of thinkers, including Michel Foucault, Hayden White, Paul Ricoeur, and Stephen Greenblatt, have begun to reexamine the cognitive assumptions and narrative paradigms that inform the discipline. This book radicalizes such developments in order to construct both a new theory of history as well as a new concept of how histories should be written. To make the interrogation concrete, the book focuses on Hiroshima and the ways in which the trauma of that event has been repressed by the discourses that historians have fashioned in order to "explain" what happened on August 6, 1945.

Table of Contents

(Abridged)Acknowledgments Preface 1. THE WAY TO HIROSHIMA I. Only Connect: Trauma in/and History II. The Concept of Crisis and a Hermeneutics of Engagement III. Only Connect: Why Hiroshima? IV. On Psychoanalytic Method: No "Return to Freud" V. Engaging the Audience: Agonistic Intersubjectivity VI. Only Connect: Immanence--The Existentializing Process 2. CUTTING BACK INTO LIFE I. History as Hermeneutic of Engagement II. Internalization and Bad Faith: The Disorder Called the Ego III. Authentic Internalization: The Birth of Psyche IV. Internalization and History V. Language, Discourse (-Communities), the Problem of Style VI. Horror, as Exemplar VII. A Modest Proposal 3. THE SUBLIME AND THE KANTIAN RATIO, OR, HOW THE WHITE MAN THINKS THE CRITICAL PHILOSOPHY AT ISSUE I. Affect and Attunement II. Deracination as Concrete Deconstruction READING AS INTERROGATIN-KANT'S CRITIQUE OF JUDGMENT, SECTIONS 23-29 I. Beyond the Beautiful: From Pleasure to Desire II. Frameworks: Opposed III. Purposiveness: And the Contrapurpose IV. Affect and Attunement in Depth: Inwardness versus the Ratio V. From Ambivalence toward the Object to Intimations of the Bomb VI. The Psyche in/and History VII. The Scientific Imagination: Kant as Romantic Poet VIII. Reason and the Bomb IX. The Imagination's Re-education: Reason as Sublime Self-Reference X. The Dynamic Sublime and the Inner World XI. Sublimity and Theology: The Superego ... and the Bomb XII. Coda: Crypt 4. THE PSYCHE THAT DROPPED THE BOMB OVERTURE: THE EGO AND ITS PLEASURE THE EGO'S CRYPT: THE INNER STRUCTURE OF AN ANTI-DIALECTIC I. The Psyche's Founding Condition II. The Manic Defense against Depression III. The Fractured Mirror and the Psychotic Core IV. Soul-Murder Perfected: Death-Work as Self-Reference V. The Law of the Son VI. Intersubjectivity: "Concrete Relations with Others" as Mutual Deadening VII. The Trauma Is the Real: The Postmodern Condition Attained VIII. Epiphany: The Eroticization of Thanatos THANATOS AS SPIRIT IN AND FOR ITSELF I. Rethinking Freud: Concrete versus Abstract Dialectics II. Humanizing Thanatos: A Phenomenological Description III. Death-Work versus the Death-Drive IV. Experience and Existence V. A New Theory of the Unconcious VI. The Dialectic at the Core: The System UCS Redefined VII. The Last Word: Thanatos in Reply 5. FROM ENTHUSIASM TO MELANCHOLIA AS SIGN OF HISTORY: OR, REFLECTION FROM KANT TO HAMLET THE HISTORICAL VALIDITY OF AESTHETIC CATEGORIES I. Poetic Thinking as Ontological Regression II. Kant's Theory of History: Enthusiasm, Progress, and the Sensus Communis HISTORY AND "VIGOROUS MELANCHOLY" I. Aesthetic Reeducation II. The Tragic Register III. The Aufhebung of Anxiety IV. The Aufhebung of Thinking V. Melancholia and the Tragic Historian HAMLET, THE CONTEMPORARY OF THE FUTURE I. First Soliloquy: Toward Subject as Who/Why II. Second Soliloquy: The Life of Questioning--Reflection as Interrogation and Self-Mediation III. Third Soliloquy: Thinking as the Cutting Edge of Passion IV. Fourth Soliloquy: Thinking as the Movement from Mind to Psyche V. Fifth Solilquy: Melancholia versus Catharsis 6. THOSE IMAGES THAT YET FRESH IMAGES BEGET TOWARD A THEORY OF THE DIALECTICAL IMAGE I. Images as Sctivity II. Image as Affect III. Image as Perception IV. Image as Psyche V. Image as Memory VI. Image as Creative Regression VII. Image as Reality TOWARD THE CRYPT: THE IMAGE AND INWARDNESS I. Affect as Agon II. The Inner World of the Image: Reconstructing the Regressive-Progressive Method "WHAT HURTS" THE DIALECTICAL IMAGE IN HISTORY I. Art: Between Psychosis and Neurosis/Normalcy DIALECTIC OF THE CONCRETE--THE THANATOPTIC IMAGE AND THE CRYPT IMAGE I. At the Origin: Death-Work and the Existential Unconscious II. The Origins as Historicity III. The Heart of the Image: The Psychotic Register Laid Bare IV. Affect: Its Primacy and Its Dialectic V. The Nuclear Unconscious: The Temporality of the Dialectical Image VI. The Motive for Art APPENDIX A. Twelve Theses on the Philosophy of History APPENDIX B. Toward Concrete Dialectics: History, Psychology, Aesthetic Ontology Notes Index

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Deracination : historicity, Hiroshima, and the tragic imperative

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