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Feminist aesthetics, negativity and semblance
Ewa Plonowska Ziarek

, Fanon locates the political regulation of colonial mimicry in the process of the deflection of the specular I into the social reality of colonial domination – in psychoanalytic terms, in the shift from primary to secondary narcissism, in Fanon’s terms, from bodily schema to racialhistorical schema. The central figures of this regulation are paranoid projection, Negrophobia and the abjection of the black body. As is well known, Fanon interprets the coloniser’s phobic reaction to the black body in terms of a paranoid projection of aggressivity and incestuous jouissance

in The new aestheticism
Open Access (free)
Theoretical approaches
Finn Stepputat

feeling of fear by different means, ensuring that it emerges only in particular ruptures and chocks Governing the dead? Theoretical approaches 13 such as those provoked by the encounter with dead bodies. Looking into this encounter and borrowing Bataille’s concept of ‘the abject’, Kristeva (1982) characterises the corpse as the paradigmatic form of the abject, understood as something nauseating and repulsing that causes us to turn away, and from which we seek to distance ourselves: ‘The corpse, seen without God and outside of science, is the utmost of abjection. It

in Governing the dead
Open Access (free)
Identities in crisis in the early novels of Marie Darrieussecq
Shirley Jordan

to the point of caricature the monstrous or ‘abject’ body, a concept which permeates the novel entirely. The abject body is one which leaks and bleeds, is protean and uncontainable, and there are numerous manifestations of this such as the heroine’s flood-like periods, ever-expanding breasts and buttocks, uncontrollable body hair, unaccountable appetites and increasing tendency to walk on all fours. The abject is said to engender dread and abhorrence in men5 and to denote ‘a realm outside culture . . . shapeless, monstrous, damp and slimy [and] threatening to reduce

in Women’s writing in contemporary France
Open Access (free)
Pollution, contamination and the neglected dead in post-war Saigon
Christophe Robert

. What is perhaps most shocking, as in the cases Lam describes, is the spectre of abandonment of the dead and the abject callousness of the living toward the anonymous dead. Identifying the dead: names and images of the deceased In the far northern reaches of the cemeteries, along dusty roadsides, vines blanket graves in layers of bright green. Vines are reminders of oblivion, slowly advancing waves of forgetting and abandonment. The graves are not all subjected to this in the same way: in some plots, graves are better kept and locked in metal cages to protect them

in Governing the dead
Open Access (free)
Agency in the Finnsburg episode
Mary Kate Hurley

. When brought into relationship with the corpses of the dead and the treasure meant to ensure community, these stories transform objects into reminders. The gold meant to buy off the memory of the violent deaths of kinsmen is qualitatively altered by its association with Oslaf and Guðlaf's angry speech. The explosive violence of the association attests to what Julia Kristeva terms theabject’, that which the subject must forget or reject in order to maintain a coherent identity. 29 Because it defies seemingly rigid

in Dating Beowulf
Yehonatan Alsheh

explanation has its limitations of course – it is not entirely clear how Kristeva evades falling into the naturalistic assumption that all this somehow applies to all people at all times and in all cultures. However, it can be interpreted as dealing with the dynamic of real interactions that precede the emergence of a thinking subject and thought-of objects (before the successful exclusion of the abject) and what may still happen after the collapse (the failure of the exclusion) of the correlation between the subject and the object. Moreover, Kristeva’s theory of abjection

in Human remains and mass violence
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson and Roiyah Saltus

of Horror ( 1982 ) – whereby the abject is a threat to meaning, identity and the social order, breaking down the distinction between self and other. A response to the abject is hatred and disgust. Kristeva had developed these ideas to understand xenophobia in Strangers to Ourselves ( 1991 ) as the ‘prickly passions aroused by the intrusion of the “other” in the homogeneity of … a group’ (Kristeva, 1991 : 41). The

in Go home?
Public presence, discourse, and migrants as threat
Giannis Gkolfinopoulos

of illegal migrants. In both cases, the notion refers to living conditions deemed abnormal, to spaces inhabited by the abject, 14 living at the margins of society and at the margins of Greek cities. In both, the term camp designates a site of misery and danger – related to crime and hygiene issues – which is and should be cordoned off from the space occupied by normal national subjects

in Security/ Mobility
Open Access (free)
Corpse-work in the prehistory of political boundaries
Richard Kernaghan

words, putrefaction enables corpses to ‘act’ though not as subjects with agency, but as the abject that disturbs the relational borders upon which subjectivity presumably depends. Of course, this is not to exclude the possibility that death may be simply a transition or to ignore that with the loss of life many other kinds of non-human life spring into action. Strictly speaking, what transitions or springs is rarely if ever treated as a mere continuation of the life that was. Precisely because corpses indicate and place visceral accents upon boundaries to the human

in Governing the dead
Beckett and the matter of language
Laura Salisbury

preoccupies Beckett in the 1930s.58 Suffering from cysts, boils, herpes, and lancing his own infected finger with a needle and razor blade,59 Beckett indeed returns repeatedly in this period to a vision of language bound to the swellings of the abject and to an eventual dehiscence in which the surface of the artwork is ruptured and something bursts forth from behind. This void from which language appears, like the synaptic chasm, is not an arid absence; here it takes the shape of a teeming, oozing fecundity. Mercier asks Camier, ‘how is your cyst?’; the reply is ‘[d

in Beckett and nothing