Journal articles on the topic 'An essay on abjection'
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1
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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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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Singh, Vikash, and Jason Torkelson. "Caste, Race, and Abjection: An Essay on Sub-humanity." Humanity & Society 44, no. 3 (July 14, 2020): 243–67. http://dx.doi.org/10.1177/0160597620930922.
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This article discusses continuities between the discourse of caste in ancient India, the racialization constitutive of the Enlightenment, and a similarly exclusionary, overdetermined conception of worthlessness—the lazy, immoral, deviant minorities—evident in contemporary racism as much as in the abandonment of a global underclass. We argue that the negative marking of a social condition or group as inferior and subhuman (on all kinds of grounds, moral, aesthetic, and intellectual) has been constitutive of the paradigms in which these societies subsist. The practices and project of all that is good is shadowed by this negative, its infectious, abominable presence. Analytically bringing together the politics of the homo sacer with the social psychology of abjection, we argue that such exclusion is as vested in politics and economic interests as in their psychic correspondences.
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Carvalho, Fernanda Sousa. "BREAKING CODES OF SEXUALITY: ANGELA CARTER’S VAMPIRE WOMEN." Em Tese 16, no. 3 (December 31, 2010): 184. http://dx.doi.org/10.17851/1982-0739.16.3.184-191.
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This essay analyzes the depiction of vampire women in Angela Carter’s “The loves of Lady Purple” and “The lady of the house of love.” Exploring the vampires’ potential of abjection, this depiction subverts patriarchal ideologies about women’s sexuality.
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Simon, Robert. "Transcendence and Abjection in Vergílio Alberto Vieira’s Cleptopsydra." Journal of Lusophone Studies 5, no. 2 (December 19, 2020): 141–57. http://dx.doi.org/10.21471/jls.v5i2.356.
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In the present essay, I examine Portuguese poet Vergílio Alberto Vieira’s 2018 collection, Cleptopsydra, an explicit parody on Camilo Pessanha’s Clepsidra (1920). Within the collection, the poetic voice moves beyond the rigidity of Pessanha’s form through a series of sublime, transcendent, but ultimately earthbound symbols. This tension between form, symbol, and transcendence likewise exists in the work of several of Vieira’s contemporaries, and I suggest an openly transnational and translinguistic link between them. Finally, I discuss how contemporary Portugal has come to serve as both a challenge and a point of articulation for Vieira’s poetics.
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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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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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Harrington, Thea. "The Speaking Abject in Kristeva'sPowers of Horror." Hypatia 13, no. 1 (1998): 138–57. http://dx.doi.org/10.1111/j.1527-2001.1998.tb01355.x.
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This essay analyzes the implications of the performative aspects of Julia Kristeva's Powers of Horror by situating this work in the context of similar aspects of her previous work. This construction and its relationship to abjection are integral components of Kristeva's notion of practice and as such are fundamental to her critique of Hegel and Freud.
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Harrison, Sheri-Marie. "Marlon James and the Metafiction of the New Black Gothic." liquid blackness 6, no. 2 (October 1, 2022): 62–85. http://dx.doi.org/10.1215/26923874-9930293.
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Abstract A reprint from a 2018 issue of the Journal of West Indian Literature devoted to Marlon James, this essay engages two of the West Indian writer's novels, John Crow's Devil and The Book of Night Women, under the rubric of the Gothic. By shifting focus from the violence of James's novels to the generic elements this violence engages, the essay argues that James's engagement with the Gothic better accounts for these two novels’ attention to issues of excessive violence, doubling, and feminine abjection and the way they perform a metafictional critique of the notion that nationalism can produce equitable sovereign subjectivity. While the Gothic offers James's interest in coercion, abjection, and the absence of choice a precise frame for rendering a world structured by neoliberalism, James also reworks the Gothic by offering a queerly affirmative version of its at times misogynistic interest in gender distinctions. Indeed, by ending all his novels with women as the figurative last person standing, James subverts the notion of the feminine abject as the Gothic trope associated with primordial chaos, presenting it instead as a possible way forward at a moment when the historical present is not seemingly graspable by existing paradigms.
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Cabaloue, Sophie. "La construcción del personaje lésbico en los relatos cubanos de Sonia Rivera-Valdés y Jacqueline Herranz-Brooks: de la “abyección” a la subversión." La Manzana de la Discordia 8, no. 1 (March 29, 2016): 89. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v8i1.1554.
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Resumen: En este ensayo se analizan las obras de dos autoras cubanas de la diáspora, Sonia Rivera-Valdés y Jacqueline Herranz-Brooks, enfocando especialmente la temática lesbiana de estas narraciones, con especial atención a la forma como nos revelan la situación de las lesbianas en Cuba, sobre todo en el “Periodo especial”, a la vez que se convierte en un modo de subvertir la hete- rosexualidad obligatoria. De este modo se indaga sobre cómo en sus relatos se construye el sujeto “abyecto” (el personaje lésbico) en oposición al sistema heteronor- mativo y cómo este sujeto pasa de la “abyección” a la subversión, al desafiar la heterosexualidad obligatoria. Palabras clave: lesbianas, heterosexualidad obligatoria, abyección, narrativa cubanaThe Construction of the Lesbian Character in the Cuban Stories by Sonia Rivera-Valdés y Jacqueline Herranz-Brooks: from “abjection” to subversion Abstract: This essay analyzes the ways in which Cuban literature with lesbian themes by two exiled writers, Sonia Rivera-Valdés and Jacqueline Herranz-Brooks, reveals the situation of lesbians in Cuba, above all in the “Special Period,” and also becomes a way to subvert compulsory heterosexuality. Thus it enquires into the ways in which their stories construct the “abject” subject of the lesbian character in opposition to the heteronormative system and how this subject moves from abjection to subversion, in challenging compulsory heterosexuality.Key Words: lesbians, compulsory heterosexuality, abjection, Cuban narrative
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Mendoza-de Jesús, Ronald. "Modern Dermabrasions." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 163–75. http://dx.doi.org/10.1215/07990537-9901738.
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This essay sketches out a protocol for reading Ren Ellis Neyra’s The Cry of the Senses: Listening to Latinx and Caribbean Poetics (2020) from the vantage point of Ellis Neyra’s more recent work on Brownness and (non)relation. The essay aims to explore further the tensions that Ellis Neyra has identified across the fault lines of “Black/Brown” racial formations in a post-1492 context by paying specific attention to how these tensions crystalize in Latinx, Latin American, and Caribbean studies. The essay unpacks Ellis Neyra’s account of the breakdown of the concept of Brownness as articulated in José Estebán Muñoz’s work in order to detect an analogous breakdown in Bolívar Echevarría’s influential work on racial modernity. In conclusion, the essay poses a question about the emancipatory potential of abjection by putting Ellis Neyra’s compelling reading of Pedro Pietri’s The Masses Are Asses in dialogue with the work of the late feminist-deconstructionist thinker Mara Negrón.
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Habibi, Reza. "Samuel Beckett's ‘Psychology Notes’ and The Unnamable." Journal of Beckett Studies 27, no. 2 (September 2018): 211–27. http://dx.doi.org/10.3366/jobs.2018.0237.
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This essay reexamines Samuel Beckett's The Unnamable by treating his ‘Psychology Notes’ as part of the genetic dossier for this text. By developing a parallel between The Unnamable and ‘textbook’ psychoanalysis in terms of a shared obsession with abjection, the essay will demonstrate that some of the symptoms and obsessions suffered by the unnamable voice (‘prison psychosis’, ‘coprosymbolism’ and ‘genital discharge’) are traceable to the Notes. At the same time, the commitment to cure, control and explanation in psychoanalysis is resisted, and Beckett's text ultimately stages a failed talking cure. The genetic identification of these intertextual connections is enhanced by the availability of the Beckett Digital Manuscript Project (BDMP). Using the same scholarly tool, the essay also examines some of the variations between the English and the French versions of the text, in order to shed further light on the significance of the Notes to the manuscript corpus of L'Innommable/The Unnamable.
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Liu, Huiming. "T.S. Eliot in the 1918 Pandemic: Abjection and Immunity." Literature 2, no. 2 (June 1, 2022): 90–105. http://dx.doi.org/10.3390/literature2020008.
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The influence of the 1918 pandemic was overshadowed by the catastrophe of the First World War. The current COVID-19 pandemic leads the academic attention to how the 1918 pandemic shaped literature of that period. Elizabeth Outka’s book brings the history of the pandemic into the study of modernism. The vast scale of a sudden outbreak of pandemic disease had made decent burials and mourning very difficult. Outka argues that The Waste Land mourns the deaths during the pandemic. The traumatic experience of the pandemic can also be found in the difficulty of speech and the fragmentation of ghostly existence in The Waste Land. Building upon Outka’s work, this essay will engage with the cultural influences of the pandemic in Eliot’s other works and reveal how the famous touchstones of modernisms are shaped by such an event. I will specify how the war and the pandemic were connected in the following section on historical backgrounds. Immunity aims to fight against foreign invaders such as viruses on a micro-level. However, on a macro-level of politics, the logic of the immune system often wrongly identifies certain groups as the scapegoats for contagious diseases. My article aims to reveal the underlying metaphor of immunity in Eliot’s writing of the abject in the late 1910s. By doing so, I hope to contribute to current academic discussions of Eliot and the writing of the pandemic, anti-Semitism and post-colonialism.
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Mazurek, Monika. "PERVERTS TO ROME: PROTESTANT GENDER ROLES AND THE ABJECTION OF CATHOLICISM." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 687–723. http://dx.doi.org/10.1017/s1060150316000085.
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“Anti-Catholicism has always been the pornography of the Puritan,” noticed Richard Hofstadter in his famous essay “The Paranoid Style in American Politics” (21). This observation, made in the 1960s, draws upon centuries-old tradition of casting Catholics in the role of sexual perverts, not only in American politics but also in British politics and culture. Through the study of anti-Catholic Victorian writing we can analyse the particular crux embodied in Hofstadter's pithy remark: a mixture of moral superiority combined with prurient enjoyment of the described practices it purports to condemn. This part of my study is dedicated to the Victorian novel and its depictions of Catholic sexuality, which, as the novelists often suggested, was either stifled and warped or rampant, but either way it transgressed the boundaries delineated by the Protestant family ideal. It also discusses Victorian gender roles and the ways in which Catholicism was allegedly undermining them.
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Dohmen, Josh. "Disability as Abject: Kristeva, Disability, and Resistance." Hypatia 31, no. 4 (2016): 762–78. http://dx.doi.org/10.1111/hypa.12266.
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In this essay, I develop an account of disability exclusion that, though inspired by Julia Kristeva, diverges from her account in several important ways. I first offer a brief interpretation of Kristeva's essays “Liberty, Equality, Fraternity and … Vulnerability” and “A Tragedy and a Dream: Disability Revisited” and, using this interpretation, I assess certain criticisms of Kristeva's position made by Jan Grue in his “Rhetorics of Difference: Julia Kristeva and Disability.” I then argue that Kristeva's concept of abjection, especially as developed by Sara Ahmed and Tina Chanter, offers important insights into disability oppression; Ahmed's and Chanter's contributions improve upon Kristeva's account. Understanding disability as abject helps to explain both resistances to interacting with disabled others and ways to resist disability oppression. Finally, I argue that understanding disability as abject is preferable to recent deployments of Lacanian theory in disability studies and that this account is compatible with social models of disability.
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Takemoto, Tina. "Drawing Complaint." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 84–107. http://dx.doi.org/10.1163/23523085-00101005.
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Matthew Barney’s 2006 solo exhibition at the San Francisco Museum of Modern Art showcased large-scale sculptures, drawings, and photographs relating to his filmDrawing Restraint 9featuring the artist and his partner Björk on a whaling ship in Japan. This essay examines Barney’s neo-Orientalist project in light of cultural appropriation and discusses the author’s participation inDrawing Complaint: Memoirs of Björk-Geisha,a guerrilla art scheme to interrupt the exhibition opening. The successes and failures of this intervention are considered alongside other artistic practices that deploy disidentification and hyperracial drag to interrogate the consumption of exotic and erotic spectacles only to encounter further exotification or cooptation. This essay also reflects on the instability of disidentificatory interventionist tactics as well as the psychic and personal toll of embodying toxic representations especially for queer artists of color who deliberately perform their own racial and sexual abjection as a mode of critique.
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Birmingham, Peg. "Holes of Oblivion: The Banality of Radical Evil." Hypatia 18, no. 1 (2003): 80–103. http://dx.doi.org/10.1111/j.1527-2001.2003.tb00780.x.
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This essay offers a reflection on Arendt's notion of radical evil, arguing that her later understanding of the banality of evil is already at work in her earlier reflections on the nature of radical evil as banal, and furthermore, that Arendt's understanding of the “banality of radical evil” has its source in the very event that offers a possible remedy to it, namely, the event of natality. Kristeva's recent work (2001) on Arendt is important to this proposal insofar as her notion of “abjection” illuminates Arendt's claim that understanding the superfluousness of the modem human being is inseparable from grasping the emergence of radical evil. In the final part of the essay, I argue that Arendt's “politics of natality” emerges from out of these two inseparable moments of the event of natality, offering the only possible remedy to the threat of radical evil by modifying our relationship to temporality.
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Welcome, Leniqueca A. "To Be Black Is to . . ." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 108–18. http://dx.doi.org/10.1215/07990537-9901682.
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This essay shows that despite the variegated experience of Black-identified people globally and the unstable and processual nature of Blackness as a category, the meaning of Blackness remains anchored in the geography of the plantation, and the deathliness this produces still haunts the anglophone Caribbean. The focus is on how this haunting is palpable to the criminalized urban poor in Trinidad; yet Black has never simply denoted abjection. From the vantage point of postcolonial Caribbean nation-states founded on anticolonial projects of Black sovereignty, one can see not only the resilience of anti-Blackness that conditions what it feels like to be Black but also what Katherine McKittrick calls the “iterations of Black life that cannot be contained by black death.”
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Polack, Fiona. "Taking the Waters: Abjection and Homecoming in The Shipping News and Death of a River Guide." Journal of Commonwealth Literature 41, no. 1 (March 2006): 93–109. http://dx.doi.org/10.1177/0021989406062920.
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This article compares recent figurations of the Canadian island of Newfoundland with those of the Australian island of Tasmania through close analysis of two significant contemporary novels. It argues that E. Annie Proulx’s The Shipping News and Richard Flanagan’s Death of a River Guide construct Newfoundland and Tasmania as havens from the disorienting effects of postmodernism. Utilizing a psychoanalytic theoretical frame drawn from Freud’s work on the uncanny and Kristeva’s thesis on abjection, the essay investigates how the two narratives bring their misfit protagonists back to the islands of their forefathers to undergo a traumatic but effective “process” of homecoming. The article concludes, however, that Proulx’s novel, in particular, exemplifies the pitfalls of what James Clifford calls “the symmetry of redemption”.
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Crous, M. "“Ruik die verderf in die kieliebakke”: Breyten Breytenbach se blik op die lyk." Literator 29, no. 3 (July 25, 2008): 35–56. http://dx.doi.org/10.4102/lit.v29i3.124.
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“Smell the rot in the armpits”: Breyten Breytenbach’s perspectives on the corpse The purpose of this article is to analyse Breyten Breytenbach’s so-called corpse poem, “bekommernis”, taken from his debut album “die ysterkoei moet sweet” (1964). The theoretical point of departure is the theories of Kristeva, in particular her essay on abjection. Not only does the article focus on Breytenbach’s portrayal of the abject, but also shows to what extent his use of language describing death, decay and the cadaver illustrates what Kristeva calls “a revolution in poetic language”. Given the fact that the poem is situated in a Zen Buddhist context, the Zen philosophy on death and dying is also taken into consideration when analysing aspects such as the dissolution of the ego, the bardos of death, et cetera.
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Rodríguez Salas, Gerardo. "‘Close as a kiss’: Gyn/Affection in Margaret Atwood’s The Penelopiad." Amaltea. Revista de mitocrítica 7 (June 22, 2015): 19–34. http://dx.doi.org/10.5209/rev_amal.2015.v7.47697.
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Margaret Atwood’s novella The Penelopiad (2005) seemingly celebrates Penelope’s agency in opposition to Homer’s myth in The Odyssey. However, the twelve murdered maids steal the book to suggest the possibility of what Janice Raymond calls gyn/affection, a female bonding based on the logic of emotion that, in Atwood’s revision, verges on Kristevan abjection, the sinister and the fantastic, and serves a cathartic effect not only in the maids but also in the reader. This essay aims to question the generally accepted empowerment of Atwood’s Penelope and celebrates the murdered maids as the locus of emotion, where marginal aspects of gender and class merge to weave a powerful metaphorical tapestry of popular and traditionally feminized literary genres that, in plunging into and embracing the semiotic realm, ultimately solidify into an eclectic but compact alternative tradition of women’s writing and myth-making.
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Bernini, Lorenzo. "“Merde Alors!”." Critical Times 3, no. 3 (December 1, 2020): 358–83. http://dx.doi.org/10.1215/26410478-8662280.
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AbstractIn recent history, Italy has repeatedly emerged as a successful laboratory for political experiments. After WWI, Fascism was invented there by Mussolini, and it quickly spread across Europe. In the 1990s, Berlusconi anticipated Trump's entrepreneurial populism. Today, there is a risk that Italy will once again perform the role of a political avant-garde: that it will export to Europe a sovereign populism of a new kind that is nonetheless in continuity with disquieting features of the worst past. The essay performs a close reading of the programmatic speech that Minister of Home Affairs and Deputy Prime Minister of Italy Matteo Salvini delivered in July 2018 at the thirty-second annual gathering of the Lega party. Its aim is to detect the presence in it of the politics of abjection (Judith Butler), a “Fascist archetype” (Umberto Eco) that affects both racialized and non-heterosexual people.
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Eng, Chris A. "Apprehending the “Angry Ethnic Fag”." GLQ: A Journal of Lesbian and Gay Studies 26, no. 1 (January 1, 2020): 103–28. http://dx.doi.org/10.1215/10642684-7929125.
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This article postulates the “angry ethnic fag” as a figure of silenced queer of color dissent. Building on the work of artist Justin Chin, it explores how shame elucidates value economies that apprehend specific acts of indignity as having the currency to forward LGBTQ politics while rendering queer of color demands nonsensical. Efforts to recuperate shame often replicate consumption practices that feed on the racial other to nourish an unmarked queer body (politic). Wallowing in the rim of abjection, Chin’s oeuvre centers the queer Asian/American to consider that which circulates around but is not necessarily in the bottom. His essay “Currency” and poem “Lick My Butt” theorize the (peri-)bottom as an ambivalent positioning that taints celebratory claims about the subversive potentiality of bottomhood. Reanimating shame and the erotic through a poetics of sweet pain, Chin’s works show how “eating ass” opens up radical alternative relationalities for queer politics.
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Piero, Mike. "Gaming Under Biopolitical Sovereign Power." Eludamos: Journal for Computer Game Culture 11, no. 1 (September 3, 2021): 55–70. http://dx.doi.org/10.7557/23.6431.
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This article argues that a spatiotemporal approach to abjection in video games helps scholars understand how confronting the abject in gameplay maps onto biopolitical conditions of living and gaming under sovereign state power. By means of a slow reading of The Binding of Isaac: Rebirth, this essay offers the chronotope of the abject as a flexible, interpretive tool to account for game narrative, mechanics, and iconography that map onto out-of-game lived realities. Drawing upon Kristeva’s psychoanalysis and Agamben’s philosophy of politics, I adapt Bakhtin’s chronotope of the threshold to the mutable video game medium in order to take up the threshold concepts of the abject, life/death, responsibility/ethics, and reading/writing presented in the game. Through the chronotope, I also reconsider this game’s critical response and relation to a Christian cosmology. Ultimately, the chronotope opens up a threshold space through which more just and equitable chronotopic relations might emerge.
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KUBY, EMMA. "IN THE SHADOW OF THE CONCENTRATION CAMP: DAVID ROUSSET AND THE LIMITS OF APOLITICISM IN POSTWAR FRENCH THOUGHT." Modern Intellectual History 11, no. 1 (March 5, 2014): 147–73. http://dx.doi.org/10.1017/s147924431300036x.
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In 1949, French intellectual David Rousset publicly called on Nazi camp survivors to bear witness to the existence of a “concentration camp universe” in the Soviet Union. Rousset, a former Buchenwald internee and an influential author, demanded that his fellow survivors identify in unqualified terms with the suffering of Soviet prisoners. Even as he colluded with Cold War governmental agencies, Rousset claimed that the imperative to oppose concentration camps existed “beyond” political or ideological commitments. This essay analyzes the arguments about suffering, politics, and memory made by Rousset and his contemporary critics, notably Jean-Paul Sartre. It responds to Rousset's admirers who have overlooked distinctive aspects of his project: his rhetoric of apoliticism, his demand for complete identification with victims, his exclusive interest in limit-case abjection as opposed to injustice in general, his interpretation of the Nazi camps that centered on forced labor rather than on genocide, and his avoidance of the language of human rights.
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Petit, Laurence. "Sublime et abjection dans « The Chinese Lobster » de A.S. Byatt." Arborescences, no. 4 (November 20, 2014): 33–43. http://dx.doi.org/10.7202/1027430ar.
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En s’appuyant sur les écrits théoriques de Julia Kristeva, Georges Bataille, Frances Connelly et Jean-François Lyotard sur la question de l’abject, du difforme, du grotesque et du sublime, cet essai se propose d’examiner la façon dont la nouvelle « The Chinese Lobster » de A.S. Byatt s’articule autour du concept central de « distorsion », au double sens de « déformation physique produite par une torsion » et de « déformation langagière », «interprétation abusive» ou « représentation faussée ». En analysant les nombreuses distorsions verbales, picturales et corporelles présentes dans le texte, je me propose de montrer comment ce récit non seulement énonce, pour mieux s’en moquer, des questions de genre très en vogue, mais également nous aide à repenser la relation texte/image en termes de transgression, ou précisément de «distorsion», celle, délibérée, de deux codes sémiotiques pré-existants – le verbal et le visuel – afin de produire une nouvelle forme intermédiale ou iconotextuelle. Plus généralement, je postulerai que cette nouvelle nous permet de reconsidérer la représentation littéraire en termes d’une inévitable « distorsion » ou « représentation faussée », en suggérant que toute représentation contient par essence son propre échec.
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Shih, Yu-Chun, and Shu-Chuan Chen. "Can the Discreditable be an Advantage? Mental Illnesses as Metaphors on Rhetorical Usages for Language Teaching." PAROLE: Journal of Linguistics and Education 9, no. 1 (April 30, 2019): 31. http://dx.doi.org/10.14710/parole.v9i1.31-43.
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Mental illnesses often inspire artists and writers and are omnipresent in various works, yet the moral adequacy of portraying their images remained controversial: Erving Goffman (2010) had described the challenges the “discreditables” might have faced and the privileges they might get once being uncovered in his essay. However, Susan Sontag believed that wrapping disease in metaphors discouraged, silenced, and shamed patients in her Illness as Metaphor. This paper aims to center the discussion on what the diseases and the patients will represent and the privileges be demonstrated in these texts from a rhetorical aspect? By applying principally the theories of uncanny, abjection, and stigma, this paper has built a theory on presuming Meursault in Camus’s The Stranger has Asperger, then analyze the power of stigma in two recent works: the episode “ADHD Is Necessary” in Taiwanese TV drama: On Children, and a French novel: Nothing Holds Back the Night. The results showed that the mental illness can be an advantageous and necessary metaphor, just as an endowing “Mark of Cain”, threatening yet defensive. Meanwhile
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Warmington, Sally, May-Lill Johansen, and Hamish Wilson. "Identity construction in medical student stories about experiences of disgust in early nursing home placements: a dialogical narrative analysis." BMJ Open 12, no. 2 (February 2022): e051900. http://dx.doi.org/10.1136/bmjopen-2021-051900.
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ObjectivesTo explore medical students’ reflective essays about encounters with residents during preclinical nursing home placements.DesignDialogical narrative analysis aiming at how students characterise residents and construct identities in relation to them.SettingMedical students’ professional identity construction through storytelling has been demonstrated in contexts including hospitals and nursing homes. Some preclinical students participate in nursing home placements, caring for residents, many living with dementia. Students’ interactions with these residents can expose them to uncontained body fluids or disturbing behaviour, evoking feelings of disgust or fear.ParticipantsReflective essays about experiences as caregivers in nursing homes submitted to a writing competition by preclinical medical students in New Zealand.ResultsDescribing early encounters, students characterised residents as passive or alien, and themselves as vulnerable and dependent. After providing care for residents, they identified them as individuals and themselves as responsible caregivers. However, in stories of later encounters that evoked disgust, some students again identified themselves as overwhelmed and vulnerable, and residents as problems or passive objects. We used Kristeva’s concept of abjection to explore this phenomenon and its relationship with identity construction.ConclusionsProviding personal care can help students identify residents as individuals and themselves as responsible caregivers. Experiencing disgust in response to corporeal or psychic boundary violations can lead to abjection and loss of empathy. Awareness of this possibility may increase students’ capacity to treat people with dignity and compassion, even when they evoke fear or disgust. Medical education theory and practice should acknowledge and address the potential impact of strong negative emotions experienced by medical students during clinical encounters.
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Walsh, Fintan. "Masculinity, psychoanalysis, straight queer theory: Essays on abjection in literature, mass culture, and film." Psychoanalysis, Culture & Society 14, no. 4 (November 12, 2009): 425–26. http://dx.doi.org/10.1057/pcs.2009.24.
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Welling, Bart. "Beyond Doom and Gloom in Petroaesthetics: Facing Oil, Making Energy Matter." MediaTropes 7, no. 2 (February 6, 2020): 138–74. http://dx.doi.org/10.33137/mt.v7i2.33675.
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This essay argues that one of the factors holding back civilization-wide transitions to renewable energy is the widespread tendency to render petroleum and other hydrocarbons abject and abstract. Fossil fuel industry representations do this by hiding the true costs of petroculture behind the virtualization Energy; environmentalist framings do it by relying too much on petroaesthetics of doom (i.e., apocalyptic imagery) and gloom (i.e., Gothic visualizations of oil spills and rusting extractive infrastructure). The scarcity of representations of hydrocarbons that acknowledge both their life-giving and life-destroying properties, their powerful nonhuman agency in mediating practically every human and nonhuman relationship in the modern world, makes it hard to imagine alternatives to petroculture. Recently, artists have begun subverting petroaesthetic conventions in ways that counter the abstraction and abjection of hydrocarbons, including by using crude oil as an artistic medium in its own right. The oddly playful bitumen sands photographs of Louis Helbig, the bitumen-based “petrographs” of Warren Cariou, and the weird, enthralling “oilscapes” of Kathleen Thum are interpreted as meaningful challenges to the petroaesthetic status quo—provocations that matter in every sense of the word. Beyond merely promoting energy transitions, these images perform transitions as they empower viewers to see hydrocarbons as media with which all living things are deeply entangled.
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Galella, Donatella, Masi Asare, Jordan Ealey, SAJ, Hye Won Kim, Matthew D. Morrison, Fred Moten, Karen Shimakawa, and Celine Parreñas Shimizu. "MT/D, or change: An anti-racist musical theatre reading group." Studies in Musical Theatre 16, no. 1 (April 1, 2022): 53–76. http://dx.doi.org/10.1386/smt_00085_1.
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In this roundtable held at the Association for Theatre in Higher Education conference in 2021, the participants discussed the racialized politics of citation in musical theatre studies. Some of the speakers lifted up anti-racist scholarly pieces that have significantly shaped their work: SAJ considered Douglas Jones Jr’s chapter ‘Slavery, performance, and the design of African American theatre’, Jordan Ealey shared lessons from Matthew D. Morrison’s article ‘The sound(s) of subjection: Constructing American popular music and racial identity through Blacksound’, Masi Asare expanded upon Fred Moten’s essay ‘Taste, dissonance, flavor, escape’ to think through sweeping away and stealing away, Donatella Galella applied Karen Shimakawa’s book National Abjection: The Asian American Body Onstage to contemporary yellowface, and Hye Won Kim talked about the influence of Celine Parreñas Shimizu’s book The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene on her own work. Morrison, Moten, Shimakawa and Shimizu reflected on why they wrote those pieces of scholarship and how they understand their research years later. Finally, the co-authors spoke to reasons why scholars situated in musical theatre studies have so rarely cited research in fields like Black and Asian American performance studies and imagined radical possibilities beyond a racist citation framework.
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Sauka, Anne. "Selfhood in Question: The Ontogenealogies of Bear Encounters." Open Philosophy 5, no. 1 (January 1, 2022): 532–50. http://dx.doi.org/10.1515/opphil-2022-0211.
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Abstract Recent years have witnessed an increase in bear sightings in Latvia, causing a change of tone in the country’s media outlets, regarding the return of “wild” animals. The unease around bear reappearance leads me to investigate the affective side of relations with beings that show strength and resilience in more-than-human encounters in human-inhabited spaces. These relations are characterized by the contrasting human feelings of alienation vis-à-vis their environments today and a false sense of security, resulting in disbelief to encounter beings capable of challenging human exceptionalism. In a broader sense, the unease connects to human self-constitution and the fragility of the self, fueled by the domination of substance ontologies. This article considers bears as beings “in exile,” as potential threats to human self-pronounced exceptionality, and thus, examples of experienced abject (Kristeva, Julia. Powers of Horror: An Essay on Abjection, translated by Leon Roudiez. New York: Columbia University Press, 1982) regarding human subjectivity. The article aims to analyze the way the constitution of human selfhood is tied to the alienation of wildlife and its genealogical and biopolitical context and to question if a reconceptualization of the human/nonhuman relations via process, instead of substance ontology, is needed.
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Davis, Mikayla. "The Formation of Separatism in Shelley's The Last Man." Digital Literature Review 6 (January 15, 2019): 54–62. http://dx.doi.org/10.33043/dlr.6.0.54-62.
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In an analysis of Mary Shelley’s The Last Man, this essay focuses on the impact of the plagueon society's mentality and function. The plague, explained as a manifestation of the“primitive” and the abject—based on the concepts of Douglas and Kristeva—leads to socialseparatism, dystopia, and moral regression. Paired with analysis of language and thecharacter Adrian, the essay concludes that Shelley’s greatest warning is against theobjectifying of humanity as potential abjections.
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Alexandrakis, Othon. "Incidental Activism: Graffiti and Political Possibility in Athens, Greece." Cultural Anthropology 31, no. 2 (May 4, 2016): 272–96. http://dx.doi.org/10.14506/ca31.2.06.
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Based on field research in Athens, Greece, this essay considers graffiti as a mode of political response to the material and symbolic violences of neoliberal governmentality. In 2010, the Greek state declared sovereign debt crisis and began to implement an aggressive austerity program in exchange for economic aid from a troika of international lenders. This resulted in the dismantling of public services, tax increases, salary and pension reductions, layoffs, and, generally, the impoverishment of the middle and lower classes. In this work I consider a crew of three young graffiti writers, both before and during the years of the crisis, as they came to realize a fear of becoming integrated into an economized social mainstream and responded by creating street art intended to bolster critical reasoning among Athenians. I argue that fear of abjection and the experience of being at the social margins served as a stimulus of critical agency, and that the crew’s intervention can be considered indirect activism: a mode of resistance whose critical agents attempt to bring about their ambitions and visions by activating other groups to undertake resistance of their own. I show how my interlocutors made political possibility by creating art that lessened the capacity of neoliberal governmentality to manufacture consent, thereby contributing to a thriving ecology of resistance action in Athens.
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Tim Dean. "Masculinity, Psychoanalysis, Straight Queer Theory: Essays on Abjection in Literature, Mass Culture, and Film (review)." MFS Modern Fiction Studies 55, no. 4 (2009): 871–74. http://dx.doi.org/10.1353/mfs.0.1640.
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Schramm, Tobias. "Abjektion und existenzielle Krise." cultura & psyché 2, no. 1 (June 2021): 73–82. http://dx.doi.org/10.1007/s43638-021-00025-9.
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ZusammenfassungJulia Kristevas Konzept der Abjektion, das sie in ihrer Monografie Powers of Horror. An Essay on Abjection (1982) vorstellt, wird in der Rezeption nicht selten mit Prozessen des Ausschlusses und der Exklusion gleichgesetzt – sei es auf innerpsychischer oder sozialer Ebene. Das ist zunächst nicht verwunderlich, spielt doch die Grenze und Grenzziehung in ihrem Werk eine entscheidende Rolle: Die Abjektion ist die Grundlage der Konstitution des Subjektes und damit auch der kulturellen Ordnung, die Subjekte hervorbringt. Nur durch die Grenzziehung, als Produkt der Abjektion, können Subjekte eine stabile Psyche und eine kulturelle Identität überhaupt erst entwickeln.Diese Lesart verkennt jedoch die grundlegende theoretische Anlage des Konzeptes bzw. wendet den Begriff bereits auf psychische, aber auch soziale Prozesse an, für welche die Abjektion zunächst erst einmal die Grundlage bildet: Bei der Abjektion, so meine Lesart des Begriffs, handelt es sich primär um die Herstellung einer Grenze. Erst die Herstellung einer Grenze bildet schließlich die Grundlage für Prozesse des Ausschlusses, und zwar sowohl in der frühkindlichen Subjektbildung als auch in der Etablierung kultureller Grenzziehungen und damit der Konstitution sozialer Ordnung. Das Erleben des Abjekten ist, so argumentiere ich in diesem Beitrag, im Grunde gleichzusetzen mit einer existenziellen Krise: Durch die Irritation ontologischer Grenzen findet sich das Subjekt in einem Zustand existenzieller Angst wieder.So bieten zahlreiche Ansätze wie etwa Kant, Kierkegaard oder Heidegger in ihren Begriffsinstrumentarien differenzierte Konzepte der ‚existenziellen Angst‘ bzw. einer existenziellen Krise an, die es ermöglichen, den speziellen psychologischen Zustand, den Kristeva mit dem Begriff des Abjekts adressiert, als existenzielle Angst oder Krise (bzw. als existenzielle Ungewissheit) zu verstehen.
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Oliver, Kelly. "Motherhood, Sexuality, and Pregnant Embodiment: Twenty-Five Years of Gestation." Hypatia 25, no. 4 (2010): 760–77. http://dx.doi.org/10.1111/j.1527-2001.2010.01134.x.
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My essay is framed by Hypatia's first special issue on Motherhood and Sexuality at one end, and by the most recent special issue (as of this writing) on the work of Iris Young, whose work on pregnant embodiment has become canonical, at the other. The questions driving this essay are: When we look back over the last twenty-five years, what has changed in our conceptions of pregnancy and maternity, both in feminist theory and in popular culture? What aspects of feminist debates from the 1970s and 1980s are still relevant today? And, how might what appear to be radical shifts in popular perceptions of pregnancy actually continue traditional values that objectify and “abjectify” the maternal body?Here, I will focus on three central elements of the revaluation of pregnancy and maternity as they show up in feminist philosophy and in popular culture: 1. The relationship between pregnancy and sexuality, both in terms of pregnant sexuality and in terms of the pregnant body as sexual object; 2. The “choice” to become a mother as a “feminist choice”; 3. The temporality of pregnancy and birth as marking something like “women's time.”
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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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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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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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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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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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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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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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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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Amorim, Sylvia Maria Godoy, and Ana Paula Leivar Brancaleoni. "Vozes abjetas: a trajetória escolar de um grupo de pessoas transexuais do interior de São Paulo / Abject voices: the school trajectory..." Cadernos CIMEAC 9, no. 2 (October 22, 2019): 116. http://dx.doi.org/10.18554/cimeac.v9i2.3074.
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Vive-se em uma sociedade heteronormativa que discrimina aqueles que rompem com a heterossexualidade e com o binarismo de gênero. A escola, que deveria colaborar na promoção do respeito às diversidades, frequentemente reproduz e produz relação de exclusão daqueles que não coadunam à norma. O presente trabalho tem por objetivo construir compreensões acerca das trajetórias escolares de um grupo de pessoas transexuais do Interior do Estado de São Paulo. Para tanto, utilizou-se uma abordagem qualitativa a partir dos pressupostos da História Oral Temática. Foram realizadas entrevistas abertas, com cinco pessoas transexuais, analisadas a partir do método de Análise Textual Discursiva. Constatou-se que a percepção de anormalidade já experimentada com os cuidadores na família, confirma-se e se fortalece através das vivências escolares. Identificam-se vivências intensas de preconceito e discriminações nas relações com a equipe educativa e colegas, configurando essas pessoas na condição de abjetos. Há, nos relatos, negações de direitos fundamentais, ao longo da vivência escolar, que comprometem a permanência com sucesso e trazem intenso sofrimento psíquico. Por fim, identificam-se várias estratégias e esforços que essas pessoas se utilizaram e empreenderam na busca por aceitação e reconhecimento por parte de educadores e colegas.Palavras-chave: Pessoas transexuais; Abjeção; Gênero; Escola. ABSTRACT: It lives in a heteronormative society that discriminates against those who break with heterosexuality and with gender binarism. The school, which should collaborate in promoting respect for diversity, often reproduces and produces exclusionary relationships from those who do not conform to the norm. The present work aims to build understanding about the school trajectories of a group of transsexual people from the State of São Paulo. For that, a qualitative approach was used based on the assumptions of Oral Thematic History. Open interviews were conducted with a group of transsexual people, analyzed using the Discursive Textual Analysis method. It was observed that the perception of abnormality already experienced with caregivers in the family is confirmed and strengthened through school experiences. We identify intense experiences of prejudice and discrimination in relations with the educational team and colleagues, configuring these people as abject. There are, in the reports, denials of fundamental rights, throughout the school experience, that compromise the permanence with success and bring intense psychic suffering. Finally, we identify several strategies and efforts that these people have used and undertaken in the search for acceptance and recognition by educators and colleagues.Keywords: Transsexual people; Abjection; Gender; School.
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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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Hinderliter, Beth. "Citizen Brus Examines His Body: Actionism and Activism in Vienna, 1968." October 147 (January 2014): 78–94. http://dx.doi.org/10.1162/octo_a_00167.
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The question “Is nonviolence a possibility?” was a lightning rod of disorder in the 1960s as leftist groups became militarized, claiming counter-violence as the most effective vehicle of self-preservation. Numerous publications, whether advocating counter-violence as self-destruction or as self-preservation, from Konrad Lorenz's On Aggression (1963) to the collection The Dialectics of Liberation (which appeared in 1968 and featured essays by Herbert Marcuse, R.D. Laing, and Stokely Carmichael), spoke to the problem of venting human aggression and thereby ending our “mass suicide.” Artistic use of violence at the 1966 Destruction in Art Symposium in London, where Viennese Actionists as well as members of the Fluxus group gathered to stage performances of their works such as Ten Rounds for Cassius Clay, questioned the sublimation of violence or its aggravation via aesthetic strategies. In suggesting that nonviolence in an oppressive society was the equivalent of self-destruction, Actionists participated in a broader discussion of the character of violence being conducted by a number of activist groups at this time. It dismissed self-defense in favor of revolutionary violence. The Actionists politicized self-destruction as a means of routing bourgeois individualism and its internalization of repressive aspects of the state apparatus, forming group-subjects as in Wehrertüchtigung [Toughening Up the Army] from 1967, which had performers parodying the training exercises of army soldiers and reveling in corporal abjection. In this sense, the political capacities of Actionism can be seen not just in its partnering with student-activist groups to offer “teach-ins,” as at 1968's “Art and Revolution” (a manifestation of performance and actions co-organized by the Viennese Actionists and a student group at the University of Vienna); they are more widely manifest in the Direct Art performances of the mid-1960s and in Günter Brus's Body Analysis actions, which question the relationship between the materiality of the human body and the political identity of the citizen subject. Here, violence applied to the body as material seeks to overturn the originary violence that is the basis of state power and to render visible the internalization of repressive social forces.
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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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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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