Abjection

argues that Fornes’ metaphor in her plays is “women’s psyche seen as a dual component of victim / tyrant or the oppressed / oppressor as within herself” (40). In her theory of “abjection” Kristeva argues that “to each ego its object”, and “to each superego its object” (Approaching abjection, 1). Kristeva sees abjection as the recognition of the want whore we find every meaning, language or desire. It is a process in

Chora stage, the Abjection stage and the Narcissistic stage. The Chora stage covers the first six months of an infant’s life. It is a pre-linguistic stage where the infant is dominated by a chaotic mixture of acuities, feelings and needs. It is also a stage when the infant is oblivious about the need to distinguish itself from its mother or the world around and is fully dependent on its mother for the gratification of its desires. This stage is followed by the stage of Abjection which occurs from

During the challenging teenage years, certain adolescents find their physique abject and experiment with their own bodies, sometimes even inflicting self-harm. Such abjection is portrayed in Ginger Snaps (2000). In the opening scene, a school teacher is lost for words when two sisters, Ginger and Brigitte Fitzgerald (Katherine Isabelle and Emily Perkins) are exposed as freaks in a montage of pictures that they themselves provide for a class project. In Horror and the Monstrous-Feminine, Barbara Creeds

Fatima Kausar Miss Kanza Javed Modern Novel – II April 25, 2016. Application of Theory of Abjection by Julia Kristeva on Bell Jar by Sylvia Plath Theory of Abjection described by Julia Kristeva in her book, Powers of Horror, depicts women as abject i.e. loathsome, sinister and scheming. In Powers of Horror, Kristeva explains that there are many aspects of humanity that fall in the category of abject. She elaborates “it is something rejected from which one does not part, from which one does not

“Kristeva is attempting to explore the different ways in which abjection works within human societies as means of separating out the human and non human.” (Creed, 1993, p.8) It will focus on Kristeva’s theory of the abject and the construction of the human subject in relation to the border, the mother-child relationship

Walt Whitman's Song of Myself This paper deals with Walt Whitman's "Song of Myself" in relation to Julia Kristeva's theories of abjection--my paper does not point to abjection in the text, but rather the significance of the abscence of abjection. This abscence, looming and revolting, arises from Whitman's attemt to refigure a conception of sublimity which delimits the material which can trigger the sublime moment. Whitman's democracy of the sublime is inclusive of those figures on the American

Julia Kristeva is a Bulgarian-French philosopher, psychoanalyst and feminist writer. Her work on abjection gives an engaging insight into human culture in terms of it’s relationship to larger overarching power structures. In Powers of Horror, Kristeva argues that the oppression of woman in patriarchal societies is constructed through fear of the abject. “The tremendous forcing that consists in subordinating maternal power (whether historical of phantasmic, natural or reproductive.)” (Kristeva, 1982

After reading Nightwood I have been radically altered. Not in the cliché sense where one comes from reading a book and proclaims his or her life different, but altered in the sense where I have been forced to confront the issue of my own identity through the text itself. The idea of the ‘human condition’ which Barnes explores in the novel brings up for me more questions than answers. Do we all suffer cruelly at the hands of this abstract notion of love? Can we reconcile, within ourselves, the

The Ocular & Spectatorship Vision and the act of looking is an important and recurring theme in many horror films. In early gothic literature, such as in Guy de Maupassant 's Le Horla, the author presents vision as definitive and universal proof and stresses the importance of seeing as well as the act of showing gore. As a society, we are routinely told ‘seeing is believing ' in the wake of any paranormal or supernatural phenomena, placing weight on the tangible. However, as science and technology

In his seminal study Gothic, Botting compares Gothic literature in the eighteenth, nineteenth and twentieth centuries with respect to their different ways of addressing terror and horror. He notes that the novel of terror dominated the eighteenth-century gothic writings for its transgressive efficacies. Female Gothic writers examine the terrors of patriarchal oppression while verbalizing the heroine’s anxiety about her entrapment into the confines of domesticity. In other words, the gothic heroine