Indigeneity, bioprecarity and the construction of the embodied self – an artist’s view
Katarina Pirak Sikku and Gabriele Griffin

denial of self and self-alienation, the abjection of the self by the self, which goes unassuaged until quite close to the end of the film. One issue with Elle-Marja’s denial of self is that even as it constitutes a rational response and care of self in the context of persistent bodily threat, it also affirms the abjection of the Sámi body and of Sámi people. Elle-Marja denies her Sámi identity but is continuously haunted by it. Though she has no pride in her Sámi identity, it is present as the unacknowledged other of her majority-identity performing self. Certain

in Bodily interventions and intimate labour
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
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Medieval and medievalist practice
Thomas A. Prendergast and Stephanie Trigg

shows, the implications of ‘getting medieval’ are indeed troubling. Dinshaw tells us ‘the medieval … is the space of the rejects – really the abjects – of the world’. 38 ‘Getting medieval’ is ‘go[ing] to work on homes here with a pair of pliers and a blowtorch’, comparable to the provisions of torture prescribed in the thirteenth-century Li livres jostice et de plet . This similitude between the now

in Affective medievalism
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
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Elza Adamowicz

that is most productive in reading the Ethnographic Museum photomontages, because they are grounded on the co-presence and collision of tribal imagery and modern female body-parts; they collapse binary structures (classical/­grotesque), undo hierarchies (the African in the service of the European) and celebrate materiality. This notion of the grotesque figure can be fruitfully linked to Julia Kristeva’s definition of the abject: ‘It is not the lack of cleanliness or health that causes abjection but what disturbs identity, order, system. What does not respect borders

in Dada bodies
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Traumatic events and international horror cinema
Linnie Blake

ways in which popular culture since the 1960s has repeatedly returned to narratives that privilege both the abject and the uncanny as core signifiers of traumatic historical events, establishing in the process what Andreas Huyssen would term a popular ‘culture of memory’9 that is unstable, aporetic and often very frightening indeed. This study is, then, a response to the longstanding occlusion of popular cultural forms (specifically those such as horror cinema that are generically driven by the abject and the uncanny) from contemporary theorisations of the cultural

in The wounds of nations
The Gothic, death, and modernity
Carol Margaret Davison

and Barbara Creed on the abject female body/corpse, and insightful studies by Angela Wright and Dale Townshend devoted to the role of mourning and melancholia in the works of Ann Radcliffe. As the fifteen chapters in The Gothic and Death illustrate, bringing the Death Question into relief in the Gothic helps us make greater sense of this protean mode/aesthetic that, ‘with its invitation to

in The Gothic and death
Rechnological necromancy and E. Elias Merhige’s Shadow of the Vampire
Carol Margaret Davison

repressed anxieties were projected onto the abjected female corpse that represents our actual, inevitable mortality (Bronfen, 1992 : 86). This projection phenomenon was registered in the proliferation of the supernaturally grounded and uncanny undead featured in the Gothic, a new literary form concurrently in development. It is also evidenced in the vampire film that, along with so much of our other cultural

in The Gothic and death
Queering the queer Gothic in Will Self ’s Dorian
Andrew Smith

blurring between the living and the dead which is the principal source of the abject; so that the most abjected figure is ‘the corpse’ because death ultimately ‘has encroached upon everything’ (3). In other words Wotton’s parody of conceptual art ironically (and unconsciously) conceives of the body, and its by-products, within an aesthetic context that identifies such art as the site of projected anxieties

in Queering the Gothic
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Aldhelm’s leech riddle – Peter Buchanan
Peter Buchanan

of beings and bodies in order to analyse the abjection of ‘lowly’ creatures like leeches in relation to humans. 4 My readings of the enigma through the lens of Chen’s work develop in tandem with an exploration of Aldhelm’s lexical choices throughout the poem, with a consideration of how these choices may be viewed in light of both Aldhelm’s other works and also his reading of early Christian Latin poets such as Prudentius. These lexical resonances suggest hidden depths lurking beneath the waters of the leech’s swamp. Finally, I broaden my discussion of the leech

in Riddles at work in the early medieval tradition