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
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Fantastic Renaissance spectacles
Elisabeth Bronfen and Beate Neumeier

religious turn and their interrelationship has contributed to a surfacing of affinities between early modern obsessions and the Gothic (see Introduction). Thus key terms of Gothic criticism such as the uncanny, the abject and the monstrous have been applied increasingly in recent Renaissance drama scholarship, particularly in conjunction with historical analyses of the religious

in Gothic Renaissance
Abjection and revelation in Le Fantôme de l’Opéra
Jerrold E. Hogle

them) as a long-standing exemplar of what Julia Kristeva calls the production of ‘the abject’ and the process of ‘abjection’. For Kristeva what we primarily ‘throw off and ‘throw under’ (the literal meanings of ‘abject’), so that we can seem to have coherent adult identities that gain acceptance within the moststandard ideologies of middle-class selfhood, is a primordial

in European Gothic
Minding the gap in The Winter’s Tale
Elisabeth Bronfen and Beate Neumeier

foreign field, rather than devoured and defecated by a wild beast. Yet in the end she has to be told how ‘He was torn to pieces with a bear’ (5.2.57). So her constant swearing upon her own life to things she cannot know merely confirms what Kristeva writes about the abject as the border of the living being: ‘If dung signifies the other side of the border, the place where I am not and

in Gothic Renaissance
Love, abjection and discontent

This book destabilises the customary disciplinary and epistemological oppositions between medieval studies and modern medievalism. It argues that the twinned concepts of “the medieval” and post-medieval “medievalism” are mutually though unevenly constitutive, not just in the contemporary era, but from the medieval period on. Medieval and medievalist culture share similar concerns about the nature of temporality, and the means by which we approach or “touch” the past, whether through textual or material culture, or the conceptual frames through which we approach those artefacts. Those approaches are often affective ones, often structured around love, abjection and discontent. Medieval writers offer powerful models for the ways in which contemporary desire determines the constitution of the past. This desire can not only connect us with the past but can reconnect present readers with the lost history of what we call the medievalism of the medievals. In other words, to come to terms with the history of the medieval is to understand that it already offers us a model of how to relate to the past. The book ranges across literary and historical texts, but is equally attentive to material culture and its problematic witness to the reality of the historical past.

Rhe Gothic and death in Russian realism
Katherine Bowers

’s potential as a literary mode that depicts the incomprehensible and folk belief’s ability to categorise, ritualise, and explain the unknown. The realist Gothic frames and their folkloric interiors in ‘Bezhin Meadow’ and ‘A Dead Body’ help mediate the tension between the irrational and the prosaic, the abject and the mysterious. However, as in folklore and the Gothic

in The Gothic and death
Narrating incest through ‘différance’ in the work of Angela Carter, A.S. Byatt and Doris Lessing
Emma V. Miller and Miles Leeson

Using Carter’s textual relationship with Saussure and Derrida as a starting point, this chapter will examine the writing of two other “literary” female authors and their narratological engagement with incest and difference with regard to Derridean différance. This will include a discussion of A.S. Byatt’s writing of incest and the assertion of familial class difference in Morpho Eugenia (1992). Similarly in Doris Lessing’s The Golden Notebook (1962), there is also a social and cultural hierarchy of difference, which is expressed through the telling of incest. By linking the difference of both the incestuous and the separateness of the notebooks a reading of transcription will suggest that incest does not only fill the abject space but comes perilously closer to home.

in Incest in contemporary literature
Matthew J. A. Green

undercurrent to the literary tradition’ 3 coursing through the culture of modernity. In staging the world-shaping capabilities of writing, his work enhances our understanding of the uncanny and the abject while further illustrating David Punter’s sense that the Gothic ‘serves to demonstrate […] the perverse in the very ground of being’. 4 Uniting works as diverse as Voice of the Fire

in Alan Moore and the Gothic Tradition
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Shape-shifting and subjectivity
Laura Wilson

werewolf narratives and the concept of the shape-shifter, in particular female werewolf narratives that use lycanthropy as a way for a woman to derive power and delight from the abjection that is so often pushed upon her. However, Esther is not given the freedom normally awarded a werewolf: the liberty to roam forests or high school corridors, the action of uncontrolled and frenzied murder free (if only

in She-wolf
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Ugly subjects in early modern England
Naomi Baker

. Kristeva’s theorisation of the abject illuminates the ambivalent processes at work in representations of ugly figures in this era. In Powers of Horror , Kristeva defines the abject as that which ‘does not respect borders, positions, rules’. Anything that transgresses bodily boundaries, for example faeces or blood, represents the abject, as do deformed bodies and corpses, entities that confuse the

in Plain ugly