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To browse Academia. Walter Everett. Caterina Sartori. Barbara Bradby. Pulse: the Journal of Science and Culture. In his book Ghosts of My Life, Mark Fisher borrows Jacques Derrida's term hauntology and repurposes it to describe a sense of a lost futurity haunting contemporary music. He singles out party hauntology as a specific subset of hauntology in pop music in which uneasiness looms behind a facade of excess and pleasure.
This paper revamps Fisher's term by focusing on the music of the Canadian artist The Weeknd. Exhibiting what Fisher terms depressive hedonia and interpassivity, The Weeknd is an example of the retreat into privatized suffering which cannot recognize its social character. However, the paper goes further by arguing that The Weeknd's music possesses an eerie quality due to a clash between upbeat, dance rhythms and dark lyrics which depict The Weeknd's constant plunging into recreational sex and drugs although they do not satisfy him.
Ultimately, as the mechanisms of capitalism in itself operate by the rules of the death drive, it will be shown that, due to his inability to understand his place in the system and submission to the necrocratic symbolic order, The Weeknd's music is the perfect soundtrack to the capitalist realist regime.
Chris Keil. This paper looks at a type of tourism visit which inhabits an ambiguous and relatively unmapped territory of meaning, crossing boundaries between the conceptual domains of pilgrimage, commemoration and pleasure-seeking. These visits and activities have developed in response to traumatic histories, and also reflect the growth of secular forms of spiritual experience, in which the pursuit of revelation is personal rather than hierophantic.