Abjection Essays

The feminist theory is based on finding and exposing negative attitudes toward women in literature. Their goal is to reveal the reality of how women get portrayed in literature due to the fact that most literature presents an inaccurate view of women and are most of the time minimized. In the Catcher in the Rye there is a few female characters such as Sunny, the girls at the club, and Sally who are put in situations that show nothing but stereotypes and puts them in a bad spot throughout the novel

Hungry for power. Querulous. Weak. The Commander is the representation of male insecurity. This character is derived from Margaret Atwood’s dystopian novel The Handmaid’s Tale. Atwood’s novel reveals that hunger for control can lead to the oppression of women, this is demonstrated through the Commander’s characterization, the Aunts attitudes, and some of the Gileadean rules/laws. Having the world at the tip of your fingers, and still feeling as if that is not enough, is the reason for the oppression

Title: The Abjection Revealed through the Perspective of Frankenstein’s Monster: Explicated through Jen-yi Hsu’s work “Gothic sublime, Negative Transcendence, and the Politics of Abjection: Woman Writer and Her Monster in Frankenstein.” Query: Within Jen-yi Hsu’s article “Gothic sublime, Negative Transcendence, and the Politics of Abjection: Woman Writer and Her Monster in Frankenstein,” he asserts that by applying Julia Kristeva’s definition of what she considers abjection, the monster from Mary

When analyzing Kristeva’s essay on abjection one must first understand what abjection is (especially in terms of horror films). Abjection, from my understanding, is a mental state of deep and repulsing horror that one may experience when we see a rotting corpse, blood, or infected flesh or when a person commits crimes against children. And it is not just the existence of disgust in horror, but it is whole body, mental and physical suffering we encounter From what I understood Kristeva is attempting

Darieck Scott argues in Extravagant Abjection: Blackeness, Power, and Sexuuality in the African American Literary Imagination that Blackness is code and functions like any other language (95). Language bridges the gap between the thoughts and feelings of individuals and the rest of the world. While people usually think of languages as something that is spoken or read, language extends beyond the verbal and textual. One frequently overlooked example is body language. While each individual has

This research is essentially guided by the psychoanalytic concepts of Abjection and The Uncanny propounded by Julia Kristeva (1982) and Sigmund Freud (1919) respectively. These concepts complement each other on the different analytical aspects of the texts under study. In some stages of the study, the analysis is reinforced by Propp (1968)’s narratological functions to examine the textual narrative processes that generate a horror world. An overview of these concepts is therefore necessary in order

experience at Claymoore, a psychiatric hospital from the late 1960s. It explores mental illness among young women within an institutional setting, a typical site of authority and abjection. Girl, Interrupted portrays mental illness and abjection in female adolescents using the traditional structure of institution films. Abjection, as defined by French philosopher Julia Kristeva, “arises from the process of a child becoming autonomous of his or her mother” (Pheasant-Kelly 5). In other words, it is the

It could be argued that abjection is incapable of existing without orifices – if that is the case then one need look no further than the full title of Chuck Palahniuk’s Rant: The Oral Biography of Buster Casey. Like Dr. Vaughan, Rant similarly avoids direct narration; Palahniuk puts the novel in an interview style, including dozens of individuals’ perspectives on Buster “Rant” Casey’s life – from lone genocidaire and menace to hero of nighttimers and venom addict. Devotees and adversaries alike note

narrator could be directly connected to the theory of abjection as proposed by Kristeva in her book Powers of Horror: An Essay on Abjection. When analysed from the perspective of the theory of “abjection”, the chamber in Carter’s tale opens up to a broader understanding of the tale. Kristeva, describes “abjection” as something which “disturbs identity, system, order” and “does not respect borders, positions, rules” (4). Kristeva draws her theory of abjection from Freud’s and Lacan’s psychoanalytic theories

1.) Introduction Renowned American author Stephen King is famous for taking the horror genre out of its typical Gothic environment, and bringing it to our everyday life, proving that about anything can be a source of terror. By exploring the dark side of human society and breaching moral codes and taboos King manages to create the distinct feeling of uneasiness and revulsion which is a characteristic feature of his works. Although King himself generally does not mind being pigeon-holed (503) his

A Monstrous Vermin: (A? The? No article?) Reading of Franz Kafka’s Novella The Metamorphosis Through the Lens of Julia Kristeva’s Abject. Franz Kafka, a son of an affluent merchant, was born and raised in a Jewish German family in Austria-Hungary. Even though composing (right word?) was Kafka’s “sole desire and sole vocation” (Marill-Albérès and de Boisdeffre 13), the recognition of his legacy came two decades after his death, after the Second World War. Kafka’s fragile health, as well as delicacy

reveal gender inequality, sexuality, the idea of “romantic love”, as well as abjection of women. These messages reveal the truth about the ideal romantic love, how women were viewed, how they were treated based on these views and as well and how women were deprived of their sexuality. In the novel, Their Eyes Were Watching God By Zora Neale Hurston, Hurston reveals a lot about gender inequality, woman sexuality and abjection toward

The “Suspense” episode titled, “The House in Cypress Canyon” written by Robert L. Richards states that we should fear the unknown. Gothic elements of ab-human, domestic abjection, and horror are displayed in this episode. Ab-human can be seen when Ellen becomes something animal-like and bites her husband’s arm and domestic abjection is when Ellen is always seeking Jim’s attention or approval. One thing that was never revealed is the closet and what was truly behind it. Whenever the couple tried opening

Franz Kafka’s The Metamorphosis. Each story has an eerie air and depressing story depicting individuals being stripped of their identities by those above them. Within each piece the author lays out a storyline of the characters before and after abjection and how they cope with these changes. Although these to works are from different time periods and written in different styles hegemonic notions and dehumanization are both driving forces behind the main characters neurosis. First and foremost,

crime, cunning murder are even more so because they heighten the display of such fragility” (2002: 232). This essay argues, that Dexter is an abject, as he attracts and disgusts, and transgresses both moral and physical borders. These elements of abjection are established by means of the narrative, as well as by technical codes and mise-en-scène codes. The first indicator that shows an implication of the abject notion in this scene (Dexter. Season 6, episode 12) is ambiguity of Dexter in terms of attraction

because of their spirituality, intellectual distinction and piety (“Franz Kafka” par. 2). His Jewish heritage brought in (HIST PRES???) not only autobiographical details to the texts but also instilled a sense of the otherness, estrangement and abjection into his oeuvre. Moreover, his works, imbued with absurdity, grotesque,

Abjection is something that goes beyond our concept of life and death and our concept of a being. A reflection of the creature's abjection can be found in the dream Victor has of his mother on page 46 of the book. Even though his mother is someone that he loves dearly, he is revolted by her appearance. In this dream his mother is not quite human (she is not alive like a human) and is an abjection. Victor’s mind is troubled by the breaching of the

Chapter One - The Abject 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

2ND ARGUMENT. Secondly, Gregor Samsa’s diseased physical state can be referred to as the abject, since Kristeva associates illness with the repulsive bodily condition. To begin with, May argues that “human–animal transitions often act as a metaphor for disease and disability” (74). Similarly, Gregor’s parents perceive his transformation as a temporary plight: each time after Grete comes out of her brother’s room, they enquire about the state of things, namely “whether he [Gregor] had perhaps shown

In Monkey Beach, Lisamarie is afraid of the source of her abjection, the Little Man, and yet she is also intrigued by him. When the Little Man is not present, Lisamarie deeply feels his absence; for example, when Mama-oo has a stroke and she is not forewarned of it by the Little Man, she thinks, “I had never appreciated