The archive can take many forms but all are marked by a connective sequence: archive, memory, the past, narrative. The author explores this sequence through an account of her engagement with four different types of archive, constructing a phenomenology of the archive which highlights the promises and seductions offered to the researcher. Postmodern questioning may throw in doubt older conceptions, whereby the archive is used to legitimate knowledge claims about the past of a nomological nature. However, in a context where (...) intellectuals become interpreters rather than legislators, the role of the archive as repository of inert meanings is strengthened rather than weakened; using the archive helps us to understand the dialectical nature of the relationship between past and present and our own positioning within this. (shrink)

This article argues that the notion of the archive is of some value for those interested in the history of the human sciences. Above all, the archive is a means of generating ethical and epistemological credibility. The article goes on to suggest that there are three aspects to modern archival reason: a principle of publicity whereby archival information is made available to some or other kind of public; a principle of singularity according to which archival reason focuses upon questions of (...) detail; and a principle of mundanity, whereby the privileged focus of archival reason is said to be the commonplace dimension of everyday life. (shrink)

By considering the experience of historians in national and regional archives, the relationship of memory to history and historical practice is discussed. The professional experience of historians is connected to wider social and psychological uses of the past, and of history in Euro pean societies, over the 200 years since official archives were inaugur ated.

The article begins with Derrida’s etymology of the word ‘archive’: a privileged site to which records are officially consigned and in which they are guarded by legal authority. It explores contemporary variations on the theme of archive. The cases presented include efforts to construct scholarly archives that stand as personal monuments, struggles over the collection and consignment of records during official investigations of government scandals, and the ‘popular archive’ produced by the media spectacle surrounding the O. J. Simpson trial. The (...) discussion orients to these archives not only as sources of documentary information but also as sites of historical struggle over the writing, collection, consignment, destruction and interpretation of writings. (shrink)

In 'No Apocalypse. Not Now' Derrida claims that 'literature produces its referent as a fictive or fabulous referent, which is itself dependent on the possibility of archivising...'. Taking the Kipling archive as its point of reference, this article considers the claims involved in the idea of a literary archive (with its appeals to authority, intention, origin, propri ety). In view of the continuing fascination with the details and events of Kipling's life (the interweaving of his public and private self, and (...) especially his connections with India and with Imperialism, and with Indian and English worlds and values), what does the history of Kipling's archive tell us, and how is this related to the location and repression of cultural anxieties (and, in particular, to notions of nation and national character). From the unacknowledged use of a quotation from 'If' in an advertisement for a patent tonic in 1919 to the appear ance of Kipling as hypertext in the 1997 Microsoft Word advertisement in the Sunday Supplements, which or whose 'Kipling' is in question in the iconicity of the continuing and contemporary representations of him. As in Derrida's description of De Man, Kipling is now a ghost of the culture. (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)

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)