Abjection and Representation: An Exploration of Abjection in - download pdf or read online

By Rina Arya (auth.)

ISBN-10: 0230389341

ISBN-13: 9780230389342

ISBN-10: 1349351113

ISBN-13: 9781349351114

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Additional resources for Abjection and Representation: An Exploration of Abjection in the Visual Arts, Film and Literature

Sample text

However, beyond this brief observation, it is worth investigating their relationship further. In some of the examples of abjection already given – excrement, vomit, a corpse, skin on the surface of milk – it is entirely plausible to discuss them as examples of disgust as well, which may lead to the finding that there is clearly a definite overlap between the phenomenology of abjection and disgust. But are there any significant differences? This leads to the ultimate question of what (if anything) is distinctive about abjection?

Disgust generates feelings of nausea that prompt our desire to move away from the source of these feelings, thereby reducing sensory contact with it. If abjection involves disgust, in that disgust is elicited in abjection, then it is reasonable to describe them as having similarities. It is also worth noting that outside of scholarship disgust is widely understood and used, often inappropriately in the sense of hyperbole, but still remains in common parlance. 14 Further analysis is needed to uncover what the connections are between these two spheres of experience, which are clearly akin, but which have not been sufficiently characterized as related phenomena.

4). This example conveys what the abject does to the subject– object positions that govern our thinking and way of ordering the world: Neither subject nor object, the abject makes clear the impossible and untenable identity of each. If the object secures the subject in a more or less stable position, the abject signals the fading or disappearance, the absolute mortality and vulnerability of the subject’s relation to and dependence on the object. (Grosz, 1992, pp. 197–198)11 The threat it poses to the self as a conscious being means that we are unable to objectify it, as we could an object.

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Abjection and Representation: An Exploration of Abjection in the Visual Arts, Film and Literature by Rina Arya (auth.)


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