Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

“other”’; as such, the Gothic is ‘pervasive precisely because it is so apposite to the representation of contemporary concerns’. 17 Julia Kristeva’s conceptualisation of abjection is particularly relevant. This involves the throwing off and under of anything that threatens autonomy and completeness, leading to an embodiment of contradictions and inconsistencies in the abject

in Alan Moore and the Gothic Tradition
Julia Round

histories wind through that of the land, bringing us closer and closer to the present day. 10 Gothic themes such as the abject are relevant here. Julia Kristeva defines the abject as that which exists outside the symbolic order, and which directly embodies the duality of self-other, confronting us

in Alan Moore and the Gothic Tradition
Phil Powrie

places inhabited by bodies that are at the mercy of (Mother) Nature, bodies that are potentially both seductive (including seducing oneself to sexual pleasure) and repulsive’ (Longhurst 2001 : 82). Reviewing the possible names one could give to such a space – Homi Bhabha’s ‘Third Space’, constituted by hybridity (Bhabha, 1994 ), or Kristeva’s chora , which is coterminous with the abject (see Kristeva 1982 : 13–14) – she

in The films of Luc Besson
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Elisabeth Bronfen and Beate Neumeier

Shakespeare’s plays from the realm of the uncanny. However, the increasing focus on Kristeva’s conception of the abject as a critical tool in Gothic and in Renaissance studies allows for an exploration and re-evaluation of possible links between both areas of research. In this context the notion of the monstrous as historically situated articulation of anxieties about processes of cultural transformation can

in Gothic Renaissance
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Martine Beugnet

. Throughout, the study will stress the link between Denis’ work and a tradition of counter-culture, both cinematic and literary. As such, the analysis of the films will highlight the director’s renewed fascination for the concepts of the sublime and the abject, and of difference and desire’s irreducible bond. It will also illustrate her attachment to the elaboration of a poetic vision detached from the hegemony of causality and

in Claire Denis
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John Phillips

, are devoid of any of the more messy aspects of sex, which is why he has expressed a distaste for Peter Greenaway’s obsession with dirt and decay: ‘The scenes that, let us say, involve sticky materials in my films are always very “clean”’ (Fragola and Smith 1992 : 135). In Julia Kristeva’s terms, the abject is almost completely absent, the one possible exception being a ‘pretend’ viscous fluid in L’Eden , in a scene that

in Alain Robbe-Grillet
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Indrani Sen

writers’ narratives contributed to circulating stereotypes about the abject condition of ‘native’ women and producing colonial knowledge about the ‘Other’. Gendered encounters As the title indicates, one of this book’s central tropes is gendered encounters across race. This is something that I examine in a number of the book’s chapters. As noted earlier, it was women missionaries

in Gendered transactions
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Multilateral channels, garden cities and colonial planning
Liora Bigon and Yossi Katz

is fraught because Africa so often ends up epitomizing the intractable, the mute, the abject, or the other-wordly … a failed and incomplete example of something else’. 1 These territories were put together because of their geographic continuity as well as their historical continuity in terms of colonialism and related colonial imageries (oriental, tropical, experimental terrains), stressing British and

in Garden cities and colonial planning
Kelly Oliver

being and meaning – makes these acts not just violent but also abject. Julia Kristeva’s description of the abject is apt here. She maintains that the abject is not just what is disgusting or dirty but rather what calls into question the boundaries of the clean and proper. The abject is in-between, the double, that which cannot be neatly contained.6 It is ‘a terror that dissembles, a hatred that smiles, a passion that uses the body for barter instead of inflaming it, a debtor who sells you up, a friend who stabs you . . .’ (Kristeva, 1982: 4). Certainly this

in Democracy in crisis
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Helen Wheatley

Williams have also argued that horror television has become a prevalent form, though they identify Angel as more generically traditional than Buffy, using Barbara Creed’s ( 1993 ) notion of the abject to understand Angel’s specific brand of horror, looking at the ways in which abjection is visually and narratively present, but restricted, within television horror

in Gothic television