In Archive Fever , Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology--fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a (...) synergistic reading of archives and archiving, both provocative and compelling. "Judaic mythos, Freudian psychoanalysis, and e-mail all get fused into another staggeringly dense, brilliant slab of scholarship and suggestion."-- The Guardian "[Derrida] convincingly argues that, although the archive is a public entity, it nevertheless is the repository of the private and personal, including even intimate details."-- Choice "Beautifully written and clear."--Jeremy Barris, Philosophy in Review "Translator Prenowitz has managed valiantly to bring into English a difficult but inspiring text that relies on Greek, German, and their translations into French."-- Library Journal. (shrink)

When one defines "order" as a sorting of priorities, it becomes beautifully clear as to what Foucault is doing here. With virtuoso showmanship, he weaves an intensely complex history of thought. He dips into literature, art, economics and even biology in The Order of Things, possibly one of the most significant, yet most overlooked, works of the twentieth century. Eclipsed by his later work on power and discourse, nonetheless it was The Order of Things that established Foucault's reputation as an (...) intellectual giant. Pirouetting around the outer edge of language, Foucault unsettles the surface of literary writing. In describing the limitations of our usual taxonomies, he opens the door onto a whole new system of thought, one ripe with what he calls "exotic charm". Intellectual pyrotechnics from the master of critical thinking, this book is crucial reading for those who wish to gain insight into that odd beast called Postmodernism, and a must for any fan of Foucault. (shrink)

This article is concerned with the literal and metaphoric senses in which anthropology's accumulation of knowledge through the production of ethnography on the world's peoples can be considered an archive. The relevance of this concept to ethnography has a very different past, present, and emergent associations. The Human Area Relations Files project as visionary science dependent on the making of an archive of ethnography contrasts with the uses of the past ethnographic record in the pursuit of contemporary fieldwork in a (...) so-called postmodern world. (shrink)

In German archival terminology, the term Akte (file) as the basic unit of storage corresponds with its actualization as discursive (re-)action: the word ‘acts’ can designate at once the content of what is to be archived and the archive itself (Derrida, 1995: 17). Whereas the network of Prussian state archives from post-Napoleonic Germany until the First World War figured as a non-discursive juridical Read Only Memory of internal autopoetic bureaucracy, the German Weimar Republic sought to develop a more democratically transparent (...) archival information politics. This remained, however, for the most part an aspiration of the new political culture, and it was never systematically adopted by state institutions. By contrast, the National Socialist regime was the first to make use of archival memory in a partisan, active manner; Akten were actively instrumentalized as part of the programme for the annihilation of European Jewry. This article, based on the German state archives and also on a case-study concerning the ideologization of the Nietzsche Archive in Weimar, examines archival micro-politics as the site of discursive repression and production, between the affirmation and the resistance of discretely segmented memory to holistic ideological demands. (shrink)

The Archive is a central but paradoxical image in the work of the con temporary French artist Christian Boltanski (born 1944). Because Boltanski is obsessively concerned with the death-like rupture and loss by which experience is continuously reduced to fragmentary and inac curate memories of the past, especially regarding the adult's perception of childhood, archives represent for him a potential means of regaining access to what has been lost and is being mourned. However, Boltan ski's installation and performance works that (...) investigate the powers of archives set out ironically the absurdly limited and misleading processes of an archive. Photography in particular is shown to be unreliable, more icon than document, challenging rather than asserting notions of cat egory and coherence. The notion of the icon, moreover, underlines the spiritual dimension that accompanies this absurdist relationship with the past. Our faulty but much-desired awareness of a past gives complex value to our present, often in a touching, pathetic way, however arbitrary the means involved. The trail of the archive leads to an uncertainty that is nonetheless precious. The many subjects that Boltanski treats in this light vary disarmingly and controversially from the trivia and detritus of everyday living to the supreme seriousness of the Holocaust. He also transforms himself and his family into a labyrinthine and playful archive. Here a curious relationship emerges with the reputation and books of his brother, the sociologist Luc Boltanski. Christian borrows with no explicit acknowledgement the archive resources of Luc's sociological research as a sub-text in his visual works. Even more surprisingly, Luc Boltanski published in 1993 HISTORY OF THE HUMAN SCIENCES Vol. 11 No. 4 © 1998 SAGE Publications (London, Thousand Oaks and New Delhi) [0952-6951(199811)11:4;121-140; 006612]Poème, a collection of highly emotive and personal poetry about the past and the Holocaust. The problems raised by Christian Boltanski and by Luc conflate the personal and historical dimensions of the Archive. (shrink)