Abstract only
Spare parts
Elza Adamowicz

grotesque tradition depicts the body as monstrosity. Artistic practices of the grotesque were greatly extended from the late nineteenth century with the work on the unconscious in psychoanalysis, in ‘primitivism’ in art, collage in modernist aesthetics, the formless in Bataillean aesthetics, the abject in feminist criticism and virtual reality in contemporary culture. Dada pushed the grotesque genre to its limits. Dada bodies are material entities spilling out of their contours, based on a cavalier disregard for consummate style. Rejecting the establishment denial

in Dada bodies
Post-war national identity and the spirit of subaltern vengeance in Ringu and The Ring
Linnie Blake

, culture and science. The atomic bomb was an alarm to civilization and an awakening towards peace for [the] Japanese.7 What had brought Japan to ruin, intellectuals like Shindo argued, was the bushido code – a form of savage and intolerant fanaticism that exploited the weak, destroyed all that stood in the way of Nihonjinron, women, horror 47 military supremacy and promoted an anti-intellectual and fundamentally irrational form of xenophobic patriarchy. And it is at this point in Japan’s negotiation of its own historic past, that the figure of the abject woman

in The wounds of nations
The War on Terror and the resurgence of hillbilly horror after 9/11
Linnie Blake

and conceptual margins of the nation, the abject territory of ‘outlaws, outcasts and paupers.’4 Resisting cultural assimilation by dominant expansionist ideologies, and thus illustrating how those who had settled down to a life of hard work on the farm or in the emergent city had tacitly acquiesced to the limits placed on their freedoms, the backwoodsman thus established his own vision and version of America. His freedom was not mediated by its conceptual embodiment in a constitution. His independence was asserted not by its declaration or by its validation in law

in The wounds of nations
Popular music
Sean Campbell and Gerry Smyth

the unique ‘stronghold’ that punk enjoyed in Ulster.12 The late Clash front man, Joe Strummer, for example, would maintain that punk supplied ‘the perfect soundtrack’ to what he called the north’s ‘ravaged cities’.13 In similar vein McLoone has claimed that Belfast and punk were effectively ‘made for one M1426 - COULTER TEXT.qxp:GRAHAM Q7 17/7/08 08:02 Page 237 From shellshock rock to ceasefire sounds 237 another’, suggesting, ‘If there was an element of “the abject” about punk . . . there was no more abject place in the Western world than Northern Ireland

in Northern Ireland after the troubles
Abstract only
Karen Throsby

are visibly fat, and especially those outside of the marathon swimming world and therefore without the protective gloss of overt athletic endeavour. The intensive consumption of fast food and other calorie-dense, nutritionally limited foods displayed by some swimmers constitutes a parody of how ‘real’ fat people are imagined to eat and how weight gain occurs; indeed, it is no accident that the abject fat bodies in the media images that routinely accompany ‘obesity epidemic’ stories are so commonly depicted clutching a burger in their hands or tucking into a carton

in Immersion
Bryce Lease

gender relations. While the production offers a critique of Polish martyrology and heroism, the use of racial masquerade is arrogated to white Polish bodies and there is no alternative parallel performance from actors of color. Is this a refuge from ‘raging Eurocentrism,’ as suggested by Szpecht, or merely a distorted picture of Europe’s self-image through its racist fantasies? Ultimately, the space for the co-presence of the abject African subjects (Kali and Mea) alongside the implied marginalization of the Polish Scouts, whose bigoted patriotism may be read as an

in After ’89
The representation of incest in children’s literature
Alice Mills

, 1995), p. 58. 7 Joanne McPherson, ‘The abject and the Oedipal in Sonya Hartnett’s Sleeping Dogs ’, Papers 9:3 (1999), p. 19. 8 Robin McKinley, Deerskin (Ace Books, 1993), p. 69

in Incest in contemporary literature
The Gothic imperative in The Castle of Otranto and ‘For the Man Who Has Everything’
Brad Ricca

or salvaging […] a double process of interpreting and then creating something new’, producing ‘a manifestly different interpretation’ of Superman. 8 In the process, ‘For the Man’ calls attention to the abject material of the superhero genre, the repressed other of the public-facing hero to which Moore would return in ‘Whatever Happened

in Alan Moore and the Gothic Tradition
National identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring
Linnie Blake

his exploration of nihonjinron (or post-war Japanese identity) Shindo should counter the overweening militarism of the recent past with a revival of the figure of the abject woman familiar from a number of ancient storytelling forms. Drawn from the kaidan or ghost story but melded with both the demonic woman of Noh theatrical tradition (such as the kyojo-mono or shuven-mono ) and the evil

in Monstrous adaptations
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?