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L’effroi et l’attirance of the wild-woman
Jacqueline Lazú

dynamic behind Stuart Hall’s theory of racism and Francis Affergan’s ‘exotic Other’, the abject both attracts and repels. 27 Yet it is not a ‘lack of cleanliness or health that causes abjection but what disturbs identity, system, order. What does not respect borders, positions, rules. The in-between, the ambiguous, the composite’. 28 If, as Kristeva suggests, every society is founded on the abject – those things it excludes – they must be controlled so that society can develop. For Kristeva, the ultimate prohibition is that against the

in The last taboo
Nordic Gothic and transcultural adaptation
Maria Holmgren Troy

”. 39 His thoughts on the connections between horror and laughter are relevant not only regarding Låt den rätte komma in , but also to Gothic humour in Riget . What I call ‘Gothic humour’ is thus related to body horror, the abject, the grotesque and the macabre; a combination of Gothic or horror and laughter. Lost in translation? – Gothic humour in Låt den rätte komma in and Riget

in Nordic Gothic
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Unsettling dominant narratives about migration in a time of flux
Kirsten Forkert, Federico Oliveri, Gargi Bhattacharyya and Janna Graham

has included, importantly, the media use of migrants themselves. The revelation that refugees and migrants were also highly connected participants in online communities and debates has been used by anti-migrant groups to allege ‘nondeservingness’ because only the abject should be worthy of assistance. However, we learned that the online media use of migrants played an important role in enabling them to rebuild their lives in a new location and in maintaining connections with both the politics back home and with diasporic communities. What can be lost from accounts

in How media and conflicts make migrants
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
Michel Faber’s ‘The Fahrenheit Twins’
Sue Zlosnik

), Faber cannot be easily categorised as a gothic writer. Most of his work avoids the conventional tropes of gothic although he has an enduring preoccupation with the abject, and in The Fire Gospel ( 2008 ) myth and history are subjected to a darkly comic satiric treatment. Gothic intertexts are clearly visible in such novels as The Hundred and Ninety-nine Steps ( 2001 ), a story of haunting and violence set in Whitby, and Mary

in Globalgothic
The spectacle of dissection
Stephanie Codsi

Marriage of Heaven and Hell , and how the horror of the spectacle collapses into absurdity. Julia Kristeva's theory of the abject lends attention to the dissection of interiorities, in its contention that bodily fluids are a reminder of the semiotic and are, as Sue Vice states, ‘signs of health when they are in the body, but signs of a dangerous transgression of boundaries when they are outside’. 22 This

in William Blake's Gothic imagination
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Good evening, all
Ben Lamb

monstrous feminine figure forces her male colleagues to confront the abject and the suffering endured by victims. Detective inspector and pensioner Jack Frost (David Jason) traverses trivial modern protocols to acknowledge the abject. Lastly, Dr Edward ‘Fitz’ Fitzgerald’s (Robbie Coltrane) psychological expertise makes him better equipped to undertake interrogations and improve the efficiency of Greater

in You’re nicked
Heather Walton

‘maternal’ upon three classic sites of psychoanalytic interest: abjection, love and melancholy. These texts exemplify Kristeva’s continuing concern to display how the repression (murder) of the mother offers the key to interpreting psycho-social traumas via the liminal insights of art and religion. Abjection, love and melancholy Approaches to the abject Powers of Horror: An Essay in Abjection (1982) begins by invoking the familiar nausea that all children have in relation to some loathed food item which is often in a state between liquid and solid, hot and cold (like the

in Literature, theology and feminism
Fashion and protest
Ory Bartal

cheapest industrial material to oppose the traditional concept of luxurious perfume bottle. The installation, as I read it, touches on the concept of the abject, and presents another visual and theoretical development in Kawakubo’s work. The abject is a psychoanalytical term that indicates, according to Julia Kristeva, a mental state of chaos in the subject during the symbiosis stage with the mother – a state in which there is a terrifying presence of ‘the other’.54 In our adult life, this mental state is presented through the untouchable, degrading, dirty BARTAL

in Critical design in Japan
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Victoria Best and Martin Crowley

), but to explore instead the significance that lies behind their appropriation and deformation. Not least, we recognise the need to explore the various discourses that result from often ambivalent acts of citation and deployment. These include, for example, the entanglement of the body in competing and contradictory realms of coding that confuse the sexual, the medical, the political, and the abject; equally at stake we find the status

in The new pornographies