earlier twentieth-century aesthetic legacy
centered upon a belief in the disruptive power of explicit sexual imagery
that is split between the informe’s ambivalence and teasing
superficiality, which is to say the play of surfaces that promises but does
not deliver depth, and a brutal fascination with what is visceral and
abject. In both cases, however, the work is notable for its ability to
resist interpretation and to make a
skin’ of Arab and African immigrants branded them, in the paranoid era of decolonisation, as biologically and culturally unclean, abject subjects who were not, nor ever could become, properly French.
Importantly, the discourse of hygiene did not stay within the private space of the domestic; it was used as an excuse to reorder France’s cities. Once again, Ross’s insights into the politics of metaphor are compelling:
The history of mid-twentieth-century renovations shows the city to be the logical outcome of capitalist modernization’s adroit manipulation of
Gothic Terror(ism) and Post-Devolution Britain in Skyfall
The article examines the phenomenon of terrorism presented in Sam Mendes‘s film Skyfall (2012), with relation to Julia Kristeva‘s concept of the abject, developed further by Robert Miles in the context of nationalism and identity. While exploring the extraterritorial nature of terrorism, which in Skyfall breaches the borders of the symbolic order, threatening the integrity of the British nation-state represented by M, Bond, and MI6, the article also focuses on the relationship between the major characters, whose psychological tensions represent the country‘s haunting by the ghosts of colonialism, as Britain is forced to revisit its imperial past(s) and geographies at the fragile moment of post-devolutionary changes.
interpretations and reimaginings. Novelists, filmmakers, comic-book writers and artists in endless other media have been haunted by the Creature-turned-monster. Its composite quality can in many ways be read as an exceptional example of the abject, which, as Julia Kristeva puts it, ‘disturbs identity, system, order’. She argues that the abject ‘does not respect borders, positions, rules’, and remains ‘the in-between, the ambiguous, the composite’ (4). Is it the Creature’s deformed body that repulses or scares Victor, for instance, or its nearly human shape? The monster’s body
.2.2.xml Dracula and The Lair of the White Worm Bram Stoker‘s Commentary on Victorian Science
2 2 2 2 218 218 231 231 GS.2.2.3.xml The Rules of War Gothic Transgressions in First World War Fiction
2 2 2 2 232 232 244 244 GS.2.2.4.xml ‘Whats the story mother?’ Abjection and Anti-Feminism in Alien and Aliens
7 7 1 1 Introduction
7 7 1 1 1 1 4 4 GS.7.1.1.xml The Gothic Villain and the Vilification of the Plagiarist The Case of The Castle Spectre
7 7 1 1 5 5 17 17 GS.7.1.2.xml ‘Christabel’ as Gothic The Abjection of Instability
8 8 2 2 ‘Myself creating what I saw’ The Morality of the Spectator in Eighteenth-Century Gothic
8 8 2 2 1 1 17 17 GS.8.2.1.xml Gothic Threats The Role of Danger in the Critical Evaluation of The Monk and The Mysteries of Udolpho
8 8 2 2 18 18 34 34 GS.8.2.2.xml ‘Dung, Guts and Blood’ Sodomy, Abjection and
17 17 2 2 57 57 68 68 GS.17.2.5.xml Cell, Stephen King and the Imperial Gothic
17 17 2 2 69 69 87 87 GS.17.2.6.xml The Return of the Abject Gothic Terror(ism) and Post-Devolution Britain in Skyfall
Ranging from Horace Walpole to Angela Carter, this essay contributes to an emergent theory of the Gothic. Its argument is that ‘Gothic’ is the name for the speaking subjects experience of approaching what Jacques Lacan has termed ‘the Thing’, and that the processes of sublimation and abjection are what structure the experience of that approach.
Though pointedly raising its literary pedigree with allusions to ‘high’ literature from Percy‘s RELIQUES to Spensers FAIRIE QUEENE, Coleridge‘s ‘Christabel’ (1799-1801) still draws heavily on the very Gothic fiction of the 1790s that he condemns as ‘low’ writing in reviews of the same period. Especially Gothic is this poems alter-ego relationship between the title character and the vampiric Geraldine. This peculiar use of echoes extends the many jibes of this period that blame the many literary changes of this time (including a mass-produced effulgence of printed writing and a frightening blurring of genres) on the Gothic as a kind of scapegoat for the cultural upheaval of this era. The Gothic is, in fact, a site for what Kristeva calls ‘abjection’: the cultural ‘throwing off’ of intermingled contradictions,into a symbolic realm that seems blatantly fictional and remote. As such a site, the Gothic in ‘Christabel’ haunts the poem with unresolved cultural quandaries that finally contribute to its unfinished, fragmentary nature. One such quandary is what is abjected in the Gothic relationship of the heroine and Geraldine: the irresolution at the time about the nature and potentials of woman.