Powers Of Horror. An Essay On Abjection New York 1982

Powers Of Horror. An Essay On Abjection New York 1982-51
And yet the abject remains ambiguous; it fascinates as much as it repels.

And yet the abject remains ambiguous; it fascinates as much as it repels.

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It surfaces as the treacherous mother, the oral-sadistic mother, or as mother as primordial abyss; in images of blood, of the 'all-devouring' vagina, of the vagina dentata, and of the vagina as Pandora's box; in the representation of the monster as fetish of (or for) the mother and in the presence of the archaic, parthenogenetic mother.18 Over and over again, the horror film depicts "reworking[s] of the primal scene in relation to the representation of other forms of copulation and procreation."19 They center on the question of the origin of life, or - in its most extreme patriarchal form - the fear that the archaic mother could be the sole source of life.

This conceptualization of the archaic mother presents a stark contrast to Kristeva's mother of the semiotic chora, who is a pre-Oedipal figure and can therefore only be theorized in her relationship to her family and to the Symbolic.

So-called abjects point towards the impossibility of such an ideal transcendence of the physical.

In a literal sense the expression refers to abject secretions like excrements, blood, or puss; elements that threaten the subject's 'own,' proper body (corps propre) and therefore have to be expelled.5 This re-drawing of boundaries creates a sense of security, of inside/outside.

Her manifestations can usually be found in a film's mise-en-scene as a representation of her phantasmagoric aspects as in the first half of Alien (Ridley Scott, USA, 1979); Creed writes: Although the "mother" as a figure does not appear in [...] the entire film-her presence forms a vast backdrop for the enactment of all the events.

She is there in the images of birth, the representations of the primal scene, the womblike imagery, the long winding tunnels leading to inner chambers, the rows of hatching eggs [...] She is the generative mother, the pre-phallic mother, the being who exists prior to the knowledge of the phallus.20 Because she concentrates solely on her reproductive function and is posited outside morality and the law, she threatens the patriarchal symbolic order and has to be negated and discredited.

As described above, that body is inextricably linked with the repressed world of the mother, so that defilement rites such as the horror film visualize the frontier between the repressed maternal-semiotic authority and the symbolic Law of the Father as in The Exorcist (William Friedkin, USA, 1973), etc.16 In traditional conceptualizations of the genre, its fascination with blood, especially the bleeding female body (said to symbolize not only her own 'castrated' state, but also the possibility of castration for the male) points towards castration anxiety as one of the basic motives of the horror film.17 Barbara Creed, however, demonstrates that the representation of the monstrous-feminine in the genre could also be based on entirely different anxieties, situated beyond the phallocentric patriarchal order.

Such dangerous femininity can be found in representations of the primal scene, of birth and death.

Kristeva calls this space chora (Plato's "empty space"); it presents a preverbal dimension of language structured by sensual impressions and the bodily needs of the child, not by language.3 Here the child learns to differentiate proper and improper, clean and unclean areas of the body.

The maternal figure is of the utmost importance in this process.

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Comments Powers Of Horror. An Essay On Abjection New York 1982

  • Annalise Baird, “The Abject, the Uncanny, and the Sublime A.
    Reply

    Of Horror An Essay on Abjection, she claims that the abject exists on the edges, defining. In Powers of Horror, Kristeva writes of the uncanny in relation to the abject. or, more technically, a bodily extension of an existing life, and the abjection of that new part of. New York W. W. Norton &, 2001. Columbia UP, 1982.…

  • The Powers of Horror An Essay on Abjection" by Julia Kristeva
    Reply

    I utilize the theory of abjection as a way to understand queerness, as a destabilizing and uncomfortable position in the context of normative social structures.…

  • The Wellsian - Durham University Community
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    In The Powers of Horror An Essay on Abjection, Julia Kristeva identifies the abject as. Leon S. Roudiez New York Columbia University Press, 1982, p. 1.…

  • Powers of Horror An Essay on Abjection Summary & Study.
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    Powers of Horror An Essay on Abjection Summary & Study Guide includes. also contradicts Judaism by identifying the abject almost directly—with the new.…

  • View text - McGill University
    Reply

    October 67 19943-21. 1. Julia Kristeva, Powers of Horror An Essay on Abjection, trans. Leon S. Roudiez New York Columbia University Press, 1982.…

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    Apr 29, 2016. The Powers of Horror An Essay on Abjection, 1982. the order of things” combining the new theories and approaches with tradition. of Horror An Essay on Abjection, New York Columbia University Press, 1982, p.10…

  • Crime, abjection, transgression and the image - Semantic.
    Reply

    Having taken as my initial starting point Kristeva's theory of abjection. collusion with New South Wales crime boss, Abe Saffron, and allegedly corrupt activities. Deconstruction and the Possibility of Justice, New York and London Routledge. Kristeva, Julia 1982 Powers of Horror An Essay on Abjection, trans.…

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    Apr 28, 2018. Julia Kristeva, interview in Die Zeit, 4 April 2018. Julia Kristeva, Powers of Horror An Essay on Abjection, New York 1982, Chapter 8.…

  • Finding Cathartic Beauty in Trauma and Abjection
    Reply

    May 16, 2014. The process of creating abject works of art has lead to. Powers of Horror An Essay on Abjection New York, NY Columbia University Press.…

  • The Monstrous-Feminine in Candyman
    Reply

    In The Powers of Horror An Essay on Abjection2 Kristeva develops her theory of. Feminism and Psychoanalysis New York Cornell University Press, 1982.…

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