Archiving the Messianic: Derrida, Benjamin, and the politics of memory

There is no archive without a place of consignation, without a technique of repetition, and without a certain exteriority. No archive without outside. (Derrida, Archive Fever, 11)

For most of us, the archive represents a practical space of investigation, with its contents sitting in darkness, waiting to be reassessed and rediscovered. What’s perhaps less obvious about the archive is its construction, an analogue to the scholar’s privileged cultural position and, along with it, the hermeneutical agenda she brings to her research. Since Derrida’s Archive Fever, the archive has become a important concept for cultural theory and historical methodology. Of course, Derrida wasn’t the first to question the archive’s authority or the ways that history is produced by it. Not simply a site for the preservation of cultural artifacts or a repository of a past authenticity, the archive also names a basic procedure of inclusion and exclusion, a simultaneous remembering and forgetting that proceeds from any attempt to archive. Derrida’s work invites us to consider several crucial outcomes of this process: first and foremost, that a dialectic exists between what gains historical legitimacy through its preservation, and what is condemned to oblivion by being ignored or repressed. The archive always entails some kind of exteriority and for this reason opens up the discussion to theology (the messianic) and psychoanalysis (repression). Secondly, while discussions of the archive have traditionally been driven by questions surrounding the organization of the past, Derrida’s work considers how these ongoing modes of organization orient us toward the future. Continue reading

A Critique of Purity

Andre Forget

In my post last month about power relations in Canada, I suggested that multiculturalism has obscured the fact that the majority of real financial and political power in this country is still largely held by the descendants of European colonizers. I suggested that until power is more equally shared – until, that is, we see the same cultural and ethnic diversity on Bay Street and Parliament Hill that we see in Kensington Market or Ellice Avenue – we will remain haunted by the problems of racism and ethnic discrimination. I do not think this is an easy or straightforward goal to accomplish, nor do I think that accomplishing it will mean an end to oppression, bigotry, or inequality. The human race has a truly astounding capacity for nastiness, and I suspect that if racism is ever put to rest we will find other, equally irrational reasons to mistreat each other. Just as cancer and AIDS have replaced smallpox and Spanish influenza, racially-motivated hatred will be replaced with some other kind; however, just as the knowledge that cancer and AIDS will in turn be replaced by other diseases does not stop us from searching for cures, awareness of humanity’s stubborn capacity for violence should not keep us from resisting the violence we see around us.

But what does this resistance look like? Continue reading

George Eliot and atheism

Jonathan Dyck

I regard these writings as histories consisting of mingled truth and fiction, and while I admire and cherish much of what I believe to have been the moral teaching of Jesus himself, I consider the system of doctrines built upon the facts of his life . . . to be most dishonorable to God and most pernicious in its influence on individual and social happiness.

–Mary Anne Evans (aka George Eliot) on the Bible, 1842

Decades after offering this passionate account of her disbelief in a letter to her father, Mary Anne Evans would move to London, become Marian Evans, and eventually assume her status as the Victorian literary giant, George Eliot. Contemporary treatments of George Eliot rightly celebrate her writing for its affirmation of everyday life, and more often than not invoke her self-proclaimed atheism as one of its key components. A recent example is an article in Salon called “Good without God” (originally published by the LA Review of Books), which argues that Eliot can teach modern atheists and skeptics how to be more inclusive and affirming of those who, for whatever reason, are still holding on to their religious beliefs. The article suggests that Eliot’s loss of faith can temper those like Dawkins or Harris who sacrifice dialogue and community for the smug certainty of their exclusively “rational” position. Not a bad corrective, but it still comes off sounding rather patronizing where religious belief is involved. Gone is the antagonism that seems to be fuelling most contemporary atheism and its religious rebuttals.   Continue reading

Violence, Grace, and Solidarity: Reading Flannery O’Connor on Good Friday

Jonathan Dyck

In order to arrive at the joy and affirmation of Easter Sunday, we encounter the suffering and despair of Good Friday. It’s not a pleasant thing to acknowledge, but grace and violence appear bound together at Easter.

Few writers are as astute at recognizing this relationship as Flannery O’Connor. Rather than a world of neutral surfaces, O’Connor’s fiction presents us with a world that is irreducibly “grotesque.” For her, the history of the South has made for an environment that is “hardly Christ-centered, [but] is most certainly Christ-haunted” (M&M 44). Her characters may not act like Christians, but theirs is a world which is divinely given, a world in which grace regularly emerges and disrupts. For this reason, O’Connor’s fiction adopts what she has called, “prophetic vision,” a way of seeing that paradoxically understands near things at a distance and far things up close. As she puts it, “The prophet is a realist of distances, and it is this kind of realism that you find in the best modern instances of the grotesque.”  This has everything to do with her view that art is incarnational. It is, in other words, ultimately about embodiment rather than abstraction, and its particular kind of embodiment is a deeply mysterious and troubling one. Continue reading

A Liberating Liturgy

How The Eucharist is Related to Gentrification and Why Urban Housing Is Sacred – Part II

Stephen Setzer Continue reading

A Liberating Liturgy

How The Eucharist is Related to Gentrification and Why Urban Housing Is Sacred – Part I

Stephen Setzer

The words “Eucharist” and “gentrification” may seem to be quite disparate in their context and meaning. One alludes to ceremony, tradition, religion, and sacrament, while the other connotes cities, housing, displacement, and economics. They are seemingly worlds apart. However, it is my contention in this paper that these worlds are not so far apart as they may initially appear. Rather they are connected at a foundational level through their respective understandings of place. What is it? Is it special? To whom does it belong? And do any of these things matter? As Christians we are a part of a story, a story that is centered, interestingly, on a particular understanding of place. Rooted in the Old Testament narrative of Abraham and Sarah and the stories of exile, the Scriptures are intent upon forming our understanding of the inherent specialness of place. Moreover, Christian tradition speaks to that same understanding through the development and process of its liturgy. Particularly, through the Eucharistic liturgy we are told a story week after week of the specialness of sacred space and our place. So then in this paper I will begin to build a bridge from Christian liturgy to our urban neighborhoods and explore how an understanding of the Eucharistic liturgy can provide the urban church with a prophetic voice against redevelopment at the cost of displacement. Continue reading

William Morris and the Politics of Artistic Production

Jonathan Dyck

In 1889, William Morris delivered a lecture titled “The Arts and Crafts of Today,” which addressed the degraded state of labour and commerce in industrial England by working through the question of art’s purpose in everyday life. Not simply an indictment of late Victorian society, Morris’s lecture functions as a manifesto, justifying his radical position to an audience of artists while laying out the philosophy of the Arts and Crafts movement. Like the manifestos of later design movements, such as The Bauhaus, Morris’s lecture assumes a close relationship between what he calls the “applied arts” and the complex form of society at large. For both movements, the design manifesto is a polemical call to all creative labourers to recognize their collective capacity to overturn and transform the status quo; it is an attempt to articulate an alternative vision of society in which art does not simply mask reality but actually improves it. Continue reading