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Archive and Dead Drive : Derrida and Psychoanalysis

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2016, 49(), pp.3-28
  • DOI : 10.17527/JASA.49.0.01
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : November 30, 2016

CHO SEON RYEONG 1

1부산대학교

Accredited

ABSTRACT

In this essay I want to examine the relation between modernist archive regarded as bureaucratic files of documents and post-modernist one regarded as a kind of aesthetic practice. After reviewing texts on contemporary ‘archive arts’ by curator Okwui Enwezor and critic Hal Foster, I try to analysis Jacques Derria's Mal d'archive, in the light of its connection to Lacan's psychoanalysis, by focusing on his criticism on Yerusalme's book on Freud as well as his review on Freud's text about Jensen's novel Gradiva. I suggest that Lacan's interpretation on Freud shares unexpectably common characters with Derrida's. By referring to Freud's concepts of dead drive and Primal Father, both Derrida and Lacan argue that the truth ironically emerges through ‘spectre’ or ‘fiction’. Aspiration of Yerusalme to hear Freud's voice directly and delusion of Harnolt (the protagonist in Gradiva) to experience ancient Pompeii by himself, are typical examples of ‘archive fever’ locating the paradoxical truth. In the archive without archive, the spectral truth comes to exist, according to Derrida. The archive fever not only destroys archives but also cause them. In conclusion, I argue that post-modernist archive is equivalent to visualized ‘spectral’ base of modernist one. In addition, I present the relation between August Sander's works and Bernd & Hilla Becher's as an good example of art practice recognizing and visualizing death drive in the modernist archive.

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