Powers Of Horror An Essay On Abjection Kristeva

Powers Of Horror An Essay On Abjection Kristeva-52
The answer is: we ceaselessly experience new beginnings, over and over.Time does not pass, it does not stop, it just keeps on starting over again and again.For the human, horror quickly pushes simple disgust out of the picture: a corpse unexpectedly encountered may be disgusting, but soon the primary raw emotion is one of horror and fear: why is there a dead body here, where it is unexpected? And at the same time we are at the beginning of time — since with one “click” we are now able to access information pertaining to all of History.

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Great modern literature unfolds over that terrain: Dostoyevsky, Lautreamont, Proust, Artaud, Kafka, Celine.” ‘What Kristeva demonstrates in her overall approach to the modern period is that these writers belong to a trajectory of acceptance of vileness alongside virile aggression and accelerated lack of confidence in a faith-based, morality-regulated society.

We perhaps easily forget now how even Spinoza and Kierkegaard, who are considered essential to secular philosophy today, wrote within the guise of religion.

They lived, after all, in a world of feast days, fast days, civil accord revolving around things holy while all that was not holy remained in civil discord unseen.

Kristeva points to the abject as not however the absence of something—not, in example, famine due to a lack of harvest—but the precise presence of a matter of disgust or a means of arriving at disgust.

Because an encounter is a dual thing: I go to meet people, who have in turn chosen to come to meet me.

The first people I met were Roland Barthes and then, through him Gérard Genette, who directed me to Philippe Sollers. At that time, Barthes was trying to explain that truth as a word is not taboo. When I attended their lectures, Genette and Barthes would ask me what I wanted to do, would ask about my thoughts on structuralism and Russian formalism.‘Every year around Halloween—near the first of October, really, as I like to have a whole month for this—I tend to re-read old ghost stories by the like of M. James, folk tales of British corpse ways, and historical non-fiction about vampires from the Balkans.Halloween makes for a grand excuse for becoming immersed in things gothic, the dark and gloomy for a whole month or better.It’s the ecceitas of John Duns Scotus, the “this,” the demonstrative pronoun that has the ability to rebound. On the condition, again, that you are able to create connections, which is not possible unless the motor of this personal pronoun is the connection of love, the transfer.This is how I understand Freud’s message: It all starts again with the transfer, you begin again.As Chairman Mao once said, you count on yourself alone.In counting on yourself, yourself is not in itself an identity, nor is it a personality or an individuality.When we hear a ship has sunk, we wish to see the abject act—a ship, verily sinking—not an empty ocean of its aftermath.‘Kristeva opens with a general overview of what she means by the term “abjection” and how the “abject” and the process of “abjection” differ, plus a slight introspection into the history of the abject as a sociocultural phenomenon—covering with strong insight such aspects as how early Christian mystics delighted in the abject and how the concept of self-abuse and piety evolved in part from their views of abjection.Coming from her background as a practicing psychoanalyst and also a pioneering linguist who wrote her Dr.d’État dissertation on the semiotic development of the early European novel, no one appears better poised than Kristeva to address this topic and she does a magesterial job.

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