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Journal articles on the topic 'Abjection'

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Published: 4 June 2021
Last updated: 21 February 2023

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1

Phillips, R. "Abjection." TSQ: Transgender Studies Quarterly 1, no. 1-2 (January 1, 2014): 19–21. http://dx.doi.org/10.1215/23289252-2399470.

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2

Pfaller, Larissa. "Theorizing the virus: abjection and the COVID-19 pandemic." International Journal of Sociology and Social Policy 40, no. 9/10 (September 16, 2020): 821–29. http://dx.doi.org/10.1108/ijssp-06-2020-0243.

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PurposeUsing Kristeva's theory of abjection, this article analyzes the psychosocial reality of the coronavirus disease 2019 (COVID-19) pandemic, advancing the understanding of exclusion and stigmatization as forms of social abjection.Design/methodology/approachThe article applies abjection to understand how severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) is both a medical emergency but also a cultural challenge. The analysis is structured in three dimensions: (1) the transgressive potential of the virus, (2) forms of cultural coping with its threat and (3) the moral order of abjection.FindingsThe virus is an existential challenge to cultural boundaries and subjectivity. Strategies to prevent its further spread (e.g. handwashing, “social distancing” and closing national borders) are thus culturally significant. The virus triggers the processes of abjection, (re-)establishing challenged boundaries and exclusionary social hierarchies. Collateral consequences of protective measures vary across regions and social groups, creating and exacerbating social inequalities.Research limitations/implicationsPractices of abjecting the virus go far beyond handwashing, masking, etc. The virus, an invisible enemy to be expunged, is also a hybrid of threatening pathogen and human body; it is not the virus but people who experience exclusion, discrimination and disrespect. Thus, cultural sociology must address the moral economy of abjection.Social implicationsAs Kristeva insists, the abject threatens both the subject and the symbolic order. Overcoming social abjection means recognizing and strengthening individual and community agency and requires understanding vulnerability as an anthropological condition, enacting caring relationships and acting in solidarity.Originality/valueThis article demonstrates that abjection is a suitable theoretical tool for analyzing the social dynamics of the COVID-19 crisis.
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3

Georgelou, Konstantina. "Abjection andInforme." Performance Research 19, no. 1 (January 2, 2014): 25–32. http://dx.doi.org/10.1080/13528165.2014.908081.

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4

D’Urso, Sandra. "On Abjection." Performance Research 23, no. 4-5 (July 4, 2018): 141–45. http://dx.doi.org/10.1080/13528165.2018.1506543.

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5

Tyler, I. "Against abjection." Feminist Theory 10, no. 1 (April 1, 2009): 77–98. http://dx.doi.org/10.1177/1464700108100393.

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6

Arya, Rina. "Abjection interrogated: Uncovering the relation between abjection and disgust." Journal of Extreme Anthropology 1, no. 1 (March 8, 2017): 48–61. http://dx.doi.org/10.5617/jea.4337.

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Julia Kristeva’s theory of abjection, as propounded in Powers of Horror, emphasises the centrality of the repulsion caused by bodily experience in human life, and explains behaviours in and attitudes to our environment. The phenomenology of abjection bears similarities to the phenomenology of disgust. Both involve physical feelings of repulsion caused by a source, and the concomitant need to reject the source in various ways. Abjection is conceptualized within a psychoanalytic framework where it refers to the repudiation of the maternal prior to the production of an autonomous subject, and the subsequent rejection of disgusting substances in later life. But apart from its role in such a psychoanalytic account, are there any other significant differences that exist between abjection and disgust, or are we looking at a distinction without a difference?
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7

Chanter, Tina, and Athena Colnnan. "Abjection, Film, Politics." Glimpse 3, no. 1 (2001): 51–62. http://dx.doi.org/10.5840/glimpse20013111.

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8

Russell, Amy M. "Embodiment and Abjection." Body & Society 19, no. 1 (March 2013): 82–107. http://dx.doi.org/10.1177/1357034x12462251.

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9

Rizq, Rosemary. "States of Abjection." Organization Studies 34, no. 9 (May 23, 2013): 1277–97. http://dx.doi.org/10.1177/0170840613477640.

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10

Virgílio, Jefferson. "Between Abjection and the Abject." Journal of Extreme Anthropology 1, no. 1 (September 4, 2017): 101–5. http://dx.doi.org/10.5617/jea.5380.

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11

Montgomery, Sheila Ray. "Abjection in Nursing: Silently Reading the Body." Research and Theory for Nursing Practice 28, no. 3 (2014): 252–59. http://dx.doi.org/10.1891/1541-6577.28.3.252.

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Aim: Throughout their careers, nurses must deal with patients that may invoke feelings of dejection, repulsion, or distress. This abjection of the patient is a real issue already established within the literature. This article seeks to enlighten what continues to be silenced in nursing practice. Approach: This article will present a paradigm of the nurse, patient’s body, and professional caring through the lens of abjection as theoretically defined by Julia Kristeva, using body hair in women as a forum for discussion. Conclusion: Abjection is linked, by its very nature, to the definitions of professional caring. The ability to read a body through the abjection of one’s own self is a rite of passage for most nurses.
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12

Aboukazemi, Vahideh. "Bijan." Cultural Studies Review 23, no. 2 (November 27, 2017): 51–61. http://dx.doi.org/10.5130/csr.v23i2.5100.

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‘Bijan’ is a representation of personal experiences from the days of the Iranian Revolution and my involvement in student political activism; an interpretation of ‘a moment of crisis’ and ‘abjection’. Abjection, as developed by Julia Kristeva, ‘is what disturbs identity, system, order’. Recalling past events and people from a time of living through utter abjection, causes narrative to disrupt and shatter around the theme of suffering, making my narrative representations fragmented, ambiguous and discontinuous.
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13

Kristianto, Paulus Eko. "Aku dalam Kehinaanku!: Menafsir Kehinaan Menurut Julia Kristeva." Gema Teologika 2, no. 1 (April 28, 2017): 23. http://dx.doi.org/10.21460/gema.2016.21.281.

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Abjection normally is understood as the gross taste. However, whether such humiliation is also understood when placed in the frame of philosophy? Julia Kristeva states abjection with regard to aesthetics in art and literature through poetry catharsis. That is through abjection, people are invited to immerse themselves further in selfhood. The key phrase is trying held by the author in this article outlines. The author tries to offer an alternative that has been wrapped Kristeva debasement in the language of the interface between semiotics and symbolism.
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14

Kristianto, Paulus Eko. "Aku dalam Kehinaanku!: Menafsir Kehinaan Menurut Julia Kristeva." GEMA TEOLOGIKA 2, no. 1 (April 28, 2017): 23. http://dx.doi.org/10.21460/gema.2017.21.281.

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Abjection normally is understood as the gross taste. However, whether such humiliation is also understood when placed in the frame of philosophy? Julia Kristeva states abjection with regard to aesthetics in art and literature through poetry catharsis. That is through abjection, people are invited to immerse themselves further in selfhood. The key phrase is trying held by the author in this article outlines. The author tries to offer an alternative that has been wrapped Kristeva debasement in the language of the interface between semiotics and symbolism.
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15

Williams, Sarah. "Abjection and Anthropological Praxis." Anthropological Quarterly 66, no. 2 (April 1993): 67. http://dx.doi.org/10.2307/3317105.

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16

Burrows, Daron. "Trubert: Transgression, Revolution, Abjection." Reinardus / Yearbook of the International Reynard Society 19 (November 19, 2007): 37–52. http://dx.doi.org/10.1075/rein.19.04bur.

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17

Kurnick, D. "THE USES OF ABJECTION." GLQ: A Journal of Lesbian and Gay Studies 15, no. 2 (January 1, 2009): 329–31. http://dx.doi.org/10.1215/10642684-2008-141.

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18

Price, Gail M. "Abjection and Relational Cruelty." Clinical Psychology & Psychotherapy 3, no. 4 (December 1996): 259–68. http://dx.doi.org/10.1002/(sici)1099-0879(199612)3:4<259::aid-cpp95>3.0.co;2-a.

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19

Middleton, Jason. "A Rather Crude Feminism." Feminist Media Histories 3, no. 2 (2017): 121–40. http://dx.doi.org/10.1525/fmh.2017.3.2.121.

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Postfeminist ideology “takes feminism into account” by framing liberal feminist principles as already achieved, thus preempting a more radical feminist politics that it constructs as both unpleasant and irrelevant. In a corresponding mode, postfeminist cultural objects derive their power in part by preempting feminist critique with irony. It is precisely this ideological double bind that the comedian Amy Schumer confronts. This essay analyzes how Schumer develops a feminist critique of the knotty problems of postfeminist ideology. Postfeminism casts feminism as abject, as the “repulsive and disgusting” monster that perpetually endangers the “empowered” postfeminist woman of today. But Schumer inverts this construction: in her show's sketches, postfeminism as an ideological formation materializes in an array of comic abjections to which Schumer's persona is subject. In short, the condition of postfeminism is one of abjection. The comic hyperbole of Schumer's character's abjections, combined with her uncritical complicity, invokes for the viewer feminist solutions.
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20

Tesar, Marek, and Sonja Arndt. "Writing the Human “I”: Liminal Spaces of Mundane Abjection." Qualitative Inquiry 26, no. 8-9 (October 16, 2019): 1102–9. http://dx.doi.org/10.1177/1077800419881656.

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This article suggests a theoretical lens of “mundane abjection” as a new conceptualization of liminality as a methodologically and humanistically transformative concept. Thinking with Julia Kristeva’s post-structural conception of the subject as “always in-process,” this article traverses the inherent and transformative element of abjection in relation to the perceived ontological challenges of methodological liminalities. It posits liminality as a potentiating conceptual space for new ontologies in relation to the human “I.” Throughout, the performance, that is the occurrence, of mundane abjection is illustrated as a critical, revelatory and necessary process within this ontological transformation of methodology and the human “I.”
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21

Neely, Sol. "Ruined Abjection and Allegory in Deadgirl." Screen Bodies 1, no. 2 (December 1, 2016): 4–24. http://dx.doi.org/10.3167/screen.2016.010202.

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Deadgirl (2008) is a horror film that gained notoriety on the film festival circuit for its disturbing premise: when a group of teenage social outcasts discover a naked female zombie strapped to a gurney in the basement of an abandoned asylum, they decide “to keep her” as a sex slave. Accordingly, two sites of monstrosity are staged—one with the monstrous-feminine and the other with monstrous masculinities. Insofar as the film explicitly exploits images of abjection to engender its perverse pleasures, it would seem to invite “abject criticism” in the tradition of Barbara Creed, Carol Clover, and colleagues. However, in light of recent critical appraisals about the limitations of “abjection criticism,” this article reads Deadgirl as a cultural artifact that demands we reassess how abjection is critically referenced, arguing that—instead of reading abjection in terms of tropes and themes—we should read it in diachronic, allegorical ways, which do not reify into cultural representation.
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22

Chivoiu, Oana. "Abjection and nostalgia in Eating Out." Short Film Studies 3, no. 2 (October 1, 2013): 189–92. http://dx.doi.org/10.1386/sfs.3.2.189_1.

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This article examines the presence of two concurrent elements in Eating Out – abjection and nostalgia, and explores the way in which they work together to shape the temporal identity of a space. The article argues that abjection functions throughout this short film to safeguard nostalgia and slowness as identity markers.
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23

Vadim, Peter. "* dunst 2001-07." Peripeti 15, no. 29/30 (October 1, 2018): 34–42. http://dx.doi.org/10.7146/peri.v15i29/30.109628.

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“dunst 2001-07 Aesthetics of Abjection” is an article that discusses the significance of artistic experimentation in the gender political association dunst motivated by a rebelliousness that creates a dilemma of both rejecting and allowing heteronormativity to demonize the association itself. The discussion of dunst is based on theories of abjection, the semiotic and disidentification.
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24

Weiner, Richard R. "Abjection, Precarity and Populist Mood." European Legacy 24, no. 5 (December 20, 2018): 553–62. http://dx.doi.org/10.1080/10848770.2018.1554392.

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25

Ablett, Sarah. "Approaching Abjection in Sarah Kane'sBlasted." Performance Research 19, no. 1 (January 2, 2014): 63–71. http://dx.doi.org/10.1080/13528165.2014.908085.

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26

Brown, M. "Mozart, Bach, and Musical Abjection." Musical Quarterly 83, no. 4 (January 1, 1999): 509–35. http://dx.doi.org/10.1093/mq/83.4.509.

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27

Mora, Richard. "Abjection and the Cinematic Cholo." Thymos: Journal of Boyhood Studies 5, no. 2 (October 1, 2011): 124–37. http://dx.doi.org/10.3149/thy.0502.124.

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28

Henderson, Emily F. "Bringing up gender: academic abjection?" Pedagogy, Culture & Society 22, no. 1 (January 2, 2014): 21–38. http://dx.doi.org/10.1080/14681366.2013.877202.

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29

Enwezor, O. "TOYCE ANDERSON: CRITICAL INTERVENTIONS:BEYOND ABJECTION." Nka Journal of Contemporary African Art 1995, no. 2 (March 1, 1995): 70–71. http://dx.doi.org/10.1215/10757163-2-1-70.

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30

Margolis, Stacey. "American Affects: Abjection, Enthusiasm, Terror." American Literary History 30, no. 2 (2018): 343–54. http://dx.doi.org/10.1093/alh/ajy009.

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31

Lee, Seonjung. "The Grass is Singing: Double-bound Abjection of Race and Gender." British and American Language and Literature Association of Korea 145 (June 30, 2022): 19–39. http://dx.doi.org/10.21297/ballak.2022.145.19.

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This paper aims to discuss how the protagonist’s subjectivity can be achieved in Doris Lessing’s The Grass is Singing by reading it from a Kristevan perspective. To this end, it explores the relationships of abjection that the poor white female subject Mary has with patriarchal white community and colonized black natives respectively. On the level of personal archeology, abjection is the process through which an infant begins to develop a sense of a discrete “I” by rejecting and expelling the maternal abject; on the socio-historical level, abjection is the matrix on which societies are founded and maintain their identities by constructing boundaries and jettisoning the antisocial abjects. Under the influences of double-bound abjection operating by cross-hatched intersection of race and gender conflicts, Mary is pushed out as abject by the white community, but at the same time casts Moses as abject. However, as Mary develops an intimate relationship with Moses, she realizes that alterity she repudiates can exist without being repressed or expelled, and that she can be constituted as a mature subject only by recognizing and embracing alterity within herself.
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32

Sheldon, Zachary. "Hell house or something more? Horror, abjection and mental illness." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (November 1, 2019): 43–56. http://dx.doi.org/10.1386/nl_00004_1.

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Abstract Many theorists argue that abjection is at the core of the experience and fascination of the horror genre. Abjection relates to the simultaneous attraction and revulsion that audiences feel around the horrific, gory or disturbing subjects that comprise the focus of horror films. Some recent horror media have centred on the gendered components of abject theory, notably the relationship of a mother to her children, as well as the stigma surrounding mental illness. These films transform motherhood into an abjection tied intimately to depression and ultimately suggest ways for audiences to make sense of both depression and conceptions of abject motherhood. This article examines Netflix's The Haunting of Hill House (2018) for its contribution to this ongoing discussion, arguing that the series takes advantage of the camera's ability to surveil its subjects in order to suggest ways that a mother's abjection and mental illness suffuse the network of familial and social relations that she is caught up in. In this, the series' horrific surveillance of its characters provides varying discursive resources with which the audience may evaluate and act regarding their own experiences of depression and abject motherhood.
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33

Islam, Gazi. "Appropriating the abject: an anthropophagic approach to organizational diversity." Equality, Diversity and Inclusion: An International Journal 33, no. 7 (September 15, 2014): 595–613. http://dx.doi.org/10.1108/edi-03-2012-0023.

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Purpose – The purpose of this paper is to examine the monstrous in organizational diversity by introducing the concept of cultural anthropophagy to the diversity literature. Using Kristeva's notion of abjection to better understand cultural anthropophagy, the paper argues that cultural anthropophages cross boundaries, and build identity through desire for and aggression toward valued others. Design/methodology/approach – The paper uses a conceptual discussion of abjection, along with a historical survey of anthropophagic approaches from Brazilian art and cultural studies. Findings – Anthropophagic approaches highlight unique features of organizational identity, framing identity formation as a fluid process of expulsion and re-integration of the other. While abjection approaches focus on the exclusion of material aspects of the self and the formation of self-other boundaries, anthropophagy focusses on the re-integration of the other into the self, in a symbolic gesture of re-integration, desire, and reverence for the other. Originality/value – The idea of anthropophagy is a recent entrant into the organizational literature, and the close relation between anthropophagy and abjection is illuminated in the current paper. Original insights regarding the search for positive identity, the ambivalence of self and other, and the relation of the particular and the universal, are offered with regards to the diversity literature.
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34

Lee-Lampshire, Wendy. "Spilling All Over the “Wide Fields of Our Passions”: Frye, Butler, Wittgenstein and the Context(s) of Attention, Intention and Identity (Or: From Arm Wrestling Duck to Abject Being to Lesbian Feminist)." Hypatia 14, no. 3 (1999): 1–16. http://dx.doi.org/10.1111/j.1527-2001.1999.tb01049.x.

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I argue for a Wittgensteinian reading of Judith Butler's performative conception of identity in light of Marilyn Frye's analysis of lesbian as nonexistent and Butler's analysis of abject. I suggest that the attempt to articulate a performative lesbian identity must take seriously the contexts within which abjection is vital to maintaining gender, exposing the intimate link between context and the formulation of intention, and shedding light on possible lesbian identities irreducible to abjection.
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35

Gatrell, Caroline. "Boundary Creatures? Employed, Breastfeeding Mothers and ‘Abjection as Practice’." Organization Studies 40, no. 3 (December 4, 2017): 421–42. http://dx.doi.org/10.1177/0170840617736932.

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This paper contributes to theory on maternity, embodiment and organizations through advancing a contemporary theory of ‘abjection as practice’ in relation to breastfeeding and employment. Drawing upon the work of Margaret Shildrick and Julia Kristeva, it analyses a qualitative study of netnographic (internet) discussions among employed breastfeeding mothers, observing how lactating bodies are treated as abject within organizations. It proposes that hostile behaviour towards breastfeeding women could be seen as a form of ‘abjection as practice’, displaying a purposeful intent to exclude breast milk production from workplace contexts. In exploring the position of breastfeeding workers, the paper observes how breastfeeding women occupy an uncomfortable space on the borders between health ideals of ‘proper’ mothering and organizational notions of ‘good’ worker. The situation of breastfeeding employees is rendered ambiguous and such uncertainties invoke co-worker antipathy. Co-worker hostility towards breastfeeding colleagues appears validated at work because minimal action is taken to address deliberate utilization of ‘abjection as practice’ towards breastfeeding workers.
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36

Janzen, Caitlin, Susan Strega, Leslie Brown, Jeannie Morgan, and Jeannine Carrière. "“Nothing Short of a Horror Show”: Triggering Abjection of Street Workers in Western Canadian Newspapers." Hypatia 28, no. 1 (2013): 142–62. http://dx.doi.org/10.1111/j.1527-2001.2011.01256.x.

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Over the past decade, Canadian media coverage of street sex work has steadily increased. The majority of this interest pertains to graphic violence against street sex workers, most notably from Vancouver, British Columbia. In this article, the authors analyze newspaper coverage that appeared in western Canadian publications between 2006 and 2009. In theorizing the violence both depicted and perpetrated by newspapers, the authors propose an analytic framework capable of attending to the process of othering in all of its complexity. To this end, the authors supplement a Foucauldian analysis of abjection by considering the work of Judith Butler along with Julia Kristeva's conceptualization of abjection. Using excerpts from western Canadian newspapers, the authors illustrate how the media's discursive practices function as triggers for the process of cultural abjection by inscribing street sex workers with images of defilement. The authors argue that newspaper coverage of street sex workers reinforces the inviolability of normalized life by constantly reiterating the horror reserved for abjected bodies.
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37

Forssberg, Anna. "Kusligt och abjekt." Tidskrift för litteraturvetenskap 45, no. 1 (January 1, 2015): 17–26. http://dx.doi.org/10.54797/tfl.v45i1.9037.

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Uncanny and Abject: Magical Thinking in the Works of Selma Lagerlöf and Carina Rydberg This article utilises Freud’s notion of ”the uncanny” and Kristeva’s concepts of ”abject” and ”abjection” in their original meanings as tools in the analysis of certain aspects of Carina Rydberg’s The Devil’s Formula (2000) and Selma Lagerlöf’s Charlotte Löwensköld (1925) and Anna Svärd (1928). There are a number of surprising connections between these narratives in a broader intertextual sense. For instance, Thea Sundler, one of the protagonists in Lagerlöf’s work, is at the outset of the novel scary because she seems so manipulative, but her character escalates from this uncanniness into evoking stronger fears of abjection at the end of the narrative, while the narrator-protagonist Carina in Rydberg’s work is in the outset of the novel marked by abjection, later undergoes a change in terms of subjectivation, but ends in scaring the reader through uncertainities typical of the uncanny.
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38

Bilic, Bojan. "Ana is here: Abjection, class privilege, and the prime minister Ana Brnabic." Sociologija 62, no. 3 (2020): 378–96. http://dx.doi.org/10.2298/soc2003378b.

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This paper employs the notion of abjection to explore how debates surrounding Ana Brnabic, the first openly lesbian prime minister in Serbia and Eastern Europe, stir affectively lined layers of prejudice across the political spectrum. Drawing upon a range of empirical sources, I argue that the actors engaging in debates about Brnabic?s both private and public life are entangled in a loop of abjection which, while comprising gender, sexuality, ?race?, and the body, reflects strong patriarchal undercurrents as structural features of Serbian politics.
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39

Krtolica, Marija R. "The Aesthetics of Abjection and Dying." International Journal of the Arts in Society: Annual Review 6, no. 1 (2011): 193–202. http://dx.doi.org/10.18848/1833-1866/cgp/v06i01/35967.

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40

Hodgson, Miranda. "Ælfric’s Abjection of the Virgin Mary." Nordic Journal of English Studies 4, no. 1 (January 1, 2005): 1. http://dx.doi.org/10.35360/njes.170.

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41

Claiborne, Corrie. "Leaving Abjection: Where 'Black' Meets Theory." Modern Language Studies 26, no. 4 (1996): 27. http://dx.doi.org/10.2307/3195321.

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42

Alford, C. Fred. "Job, Abjection, and the Ruthless God." Psychoanalytic Review 96, no. 3 (June 2009): 431–59. http://dx.doi.org/10.1521/prev.2009.96.3.431.

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43

Zanghellini, Aleardo. "Queer, Antinormativity, Counter-Normativity and Abjection." Griffith Law Review 18, no. 1 (January 2009): 1–16. http://dx.doi.org/10.1080/10383441.2009.10854627.

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44

Ferreday, Debra. "Anorexia and Abjection: A Review Essay." Body & Society 18, no. 2 (May 24, 2012): 139–55. http://dx.doi.org/10.1177/1357034x12440830.

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45

Tużnik, Marta Anna. "The Problem of Abjection in Culture." Kultura i Wartości 19 (February 6, 2017): 117. http://dx.doi.org/10.17951/kw.2016.19.117.

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46

Nugent, Teresa Lanpher. "Anne Lock's Poetics of Spiritual Abjection." English Literary Renaissance 39, no. 1 (January 2009): 3–23. http://dx.doi.org/10.1111/j.1475-6757.2009.01037.x.

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47

Chaplin, Susan. "Fictions of Origin: Law, Abjection, Difference." Law and Critique 16, no. 2 (January 2005): 161–80. http://dx.doi.org/10.1007/s10978-004-5248-8.

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48

Peimanfard, Shima, and Fazel Asadi Amjad. "“Mimic woman” or “Abject Subject”? Crisscrossing Glances of Postcolonial and Psychoanalytic Theories in Rhys’s Wide Sargasso Sea." Advances in Language and Literary Studies 9, no. 1 (March 1, 2018): 75. http://dx.doi.org/10.7575/aiac.alls.v.9n.1p.75.

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This study intends to examine the intersections of Postcolonilism and Psychoanalysis in Rhys’ literary oeuvre, Wide Sargasso Sea. In the light of Kristeva’s Abjection theory, the paper challenges Bhabha’s notions of hybridity, mimicry and ambivalence as he accentuates them as a form of resistance against White hegemony. Notwithstanding Bhabha’s arguments, the novel also indicates that the hybrid woman’s mimicry of whiteness subjects her to an ambivalent space, which not only make her incapable of distorting the master’s hegemony, it dooms her to get lost in a constant psychotic delirium and abjection.
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49

Budge, Gavin. "“Art’s Neurosis”: Medicine, Mass Culture and the Romantic Artist in William Hazlitt." Articles, no. 49 (April 9, 2008): 0. http://dx.doi.org/10.7202/017856ar.

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AbstractAlthough criticism has traditionally focussed on the Romantic celebration of artistic genius, there is also an emphasis on artistic abjection in Romantic writing. This essay argues that the Romantic theme of abjection is linked to the claims of early nineteenth-century Brunonian medicine that conditions of nervous over- and understimulation are the cause of diseases such as consumption and hypochondria, a case which is made with particular reference to the writings of William Hazlitt. Brunonian medical theory also informs Romantic period analyses of a newly emergent mass culture, enabling Romantic depictions of artistic abjection to be understood as a denial of the Romantic artist's involvement in a mediatization of experience which potentially distances the audience from the intuition of reality to which Romanticism ultimately appeals. This ambivalence about the position of the Romantic artist is reflected in the Romantic period debate surrounding the aesthetic category of the picturesque, which is shown to draw on Brunonian ideas about nervous stimulation in a way which makes it exemplary of conflicted Romantic attitudes towards the effects of mediatization.
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50

Chanter, Tina. "Abjection and the Constitutive Nature of Difference: Class Mourning in Margaret's Museum and Legitimating Myths of Innocence in Casablanca." Hypatia 21, no. 3 (2006): 86–106. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01115.x.

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This essay examines the connections between ignorance and abjection. Chanter relates Julia Kristeva's notion of abjection to the mechanisms of division found in feminist theory, race theory, film theory, and cultural theory. The neglect of the co-constitutive relationships among such categories as gender, race, and class produces abjection. If those categories are treated as separate parts of a persons identity that merely interlock or intermesh, they are rendered invisible and unknowable even in the very discourses about them. Race thus becomes gender's unthought other, just as gender becomes the excluded other of race. Via an exploration of Margaret's Museum and Casablanca, the author shows why the various sexual, racial, and nationalist dynamics of the two films cannot be reduced to class or commodity fetishism, following Karl Marx, or psychoanalytic fetishism, following Sigmund Freud and Jacques Lacan. Whether they are crystallized in Marxist or Lacanian terms, fetishistic currencies of exchange are haunted by an imaginary populated by unthought, abject figures. Ejected from the systems of exchange consecrated as symbolic, fragmented, dislocated, diseased body parts inform and constitute meaning.
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