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Artículos de revistas sobre el tema "Abject body"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 4 de febrero de 2022

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1

Harputlu Shah, Zeynep. "Reading the Body in Dickens’s Bleak House and Our Mutual Friend." Complutense Journal of English Studies 27 (October 4, 2019): 275–92. http://dx.doi.org/10.5209/cjes.61471.

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This article examines the ways in which the Victorian body and identity were being transformed in the mid-nineteenth century and identifies three distinctive ways the biological and normative boundaries of the body were violated as represented in Dickens’s fiction: the grotesque body, the vulnerable body and the dead body. In this sense, Dickens’s Bleak House (1851-53) and Our Mutual Friend (1864-65) present creative and challenging literary responses to the Victorian body abjected through deprivation, physical vulnerability and death. In the novels, the grotesque body challenges the abject vi

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2

Camille, Michael. "The Abject Gaze and the Homosexual Body:." Journal of Homosexuality 27, no. 1-2 (1994): 161–88. http://dx.doi.org/10.1300/j082v27n01_08.

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3

Kimmich, Allison. "Writing the Body: From Abject to Subject." a/b: Auto/Biography Studies 13, no. 2 (1998): 223–34. http://dx.doi.org/10.1080/08989575.1998.10815130.

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4

Lachaud, Maxime. "The Abject Body in Harry Crews’s Fiction." Anglophonia/Caliban 15, no. 1 (2004): 49–57. http://dx.doi.org/10.3406/calib.2004.1504.

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5

Chung, Youn Yee, and Nam See Kim. "The Female Body of Abject in Contemporary Art : Focussing on Julia Kristeva"s abject concept." Journal of Contemporary Art Studies 22, no. 1 (2018): 35–61. http://dx.doi.org/10.29330/jcas.2018.06.22.1.35.

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6

Lilly, Reg. "“…a motherless child.” Heidegger's Abject Bodies." Heidegger Circle Proceedings 53 (2019): 185–96. http://dx.doi.org/10.5840/heideggercircle20195316.

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I examine Heidegger’s concept of body in SZ against the background of trauma studies which has, for some time, assigned the body a central role in trauma, not just as biological entity, but as a lived body with a specific temporality. For humans, as embodied and mortal, trauma is not merely an empirical possibility, but is an essential one; namely, the possibility of an essential dissociation in which wholeness and ‘mineness’ are fundamentally called into question. In my paper I first indicate the significance of wholeness for his project, and the role of the ontosomatic in it. Heidegger seeks

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7

Black, Fiona. "A Miserable Feast: Dishing Up the Biblical Body in The Cook, the Thief, His Wife and Her Lover." Biblical Interpretation 14, no. 1-2 (2006): 110–26. http://dx.doi.org/10.1163/156851506776145805.

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AbstractThe paper considers the place of the Bible in the abject world of Peter Greenaway's The Cook, the Thief, His Wife and Her Lover. Two biblical intertexts are evident: Psalm 51, which is sung repeatedly throughout the film as a call to repentance, and the Last Supper, which forms the climactic revenge of one of the characters. The texts are interwoven with some significant themes in the film (corporeality, consumption and violence), all of which work to establish and manipulate the presence of the abject. With the assistance of the Bible, the characters' relation to the abject becomes co

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8

West, Patrick. "Abject Jurisdictions: CSI: Miami, Globalisation and the Body Politic." Critical Studies in Television: The International Journal of Television Studies 3, no. 1 (2008): 60–75. http://dx.doi.org/10.7227/cst.3.1.6.

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9

Harradine, David. "Abject identities and fluid performances: Theorizing the leaking body." Contemporary Theatre Review 10, no. 3 (2000): 69–85. http://dx.doi.org/10.1080/10486800008568597.

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10

Ploeger, Daniël. "Abject Digital Performance: Engaging the Politics of Electronic Waste." Leonardo 50, no. 2 (2017): 138–42. http://dx.doi.org/10.1162/leon_a_01159.

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Building on anthropologist Mary Douglas’s writing on the ritual function of dirt, this article presents a strategy in digital performance art that engages with electronic waste (e-waste). It is suggested that planned obsolescence in electronics is of a particular nature that facilitates the representation of consumer technologies within the logic of a “symbolic order of technological progress,” where digital devices act as mere signifiers for abstract notions of connectivity, well-being and innovation. Conceptualizing discarded electronic devices as abject technology that is positioned outside

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11

Harold, Christine L. "Tracking Heroin Chic: The Abject Body Reconfigures the Rational Argument." Argumentation and Advocacy 36, no. 2 (1999): 65–76. http://dx.doi.org/10.1080/00028533.1999.11951638.

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12

Søndergaard, Marie Louise Juul. "Sharing the Abject in Digital Culture." A Peer-Reviewed Journal About 5, no. 1 (2016): 40–49. http://dx.doi.org/10.7146/aprja.v5i1.116039.

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Menstruation has been picked up lately by the ‘tech’ industry. Today millions of users track their period cycle using reproductive health apps, and menstruation tracking is an integrated feature in Apple’s HealthKit software platform.The digitization of menstruation raises several questions about the cultural aspects of menstruation in an exchange economy. What happens to the cultural complexities of menstruation, and the body in general, when through digitization it changes value from excess to exchange? With this speculation I aim to investigate the relation between menstruation data as abje

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13

Zsadányi, Edit. "The Abject as Body Language in Imre Kertész’s Fateless and Alaine Polcz’s One Woman in the War." Hungarian Cultural Studies 12 (August 1, 2019): 92–107. http://dx.doi.org/10.5195/ahea.2019.352.

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Among the various analyses that examine Imre Kertész’s Fateless, little attention has been paid to the relationship between body and narrative. Using Julia Kristeva’s concept of the abject, I focus on excerpts in the novel in which power breaches the boundaries of the protagonist’s body, Gyuri Köves, as he endures detainment in various concentration camps. In this paper I argue that it is the dehumanized and abjectified body that rebels against totalitarianism by refusing to accept a deceptive survival scenario. When the perspective of death has been accepted, the concept of the abject paradox

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14

Parton, Chloe M., Jane M. Ussher, and Janette Perz. "Women’s Construction of Embodiment and the Abject Sexual Body After Cancer." Qualitative Health Research 26, no. 4 (2015): 490–503. http://dx.doi.org/10.1177/1049732315570130.

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15

Harris, Sue. "Degraded divinity? Sacred monstrosity? Gérard Depardieu and the abject star body." Screen 56, no. 3 (2015): 319–34. http://dx.doi.org/10.1093/screen/hjv043.

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16

Chung, Seul. "Female Subject and Abject Body Represented in Lee Yeon-ju’s Poetry." DONAM OHMUNHAK 38 (December 31, 2020): 201–40. http://dx.doi.org/10.17056/donam.2020.38..201.

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17

Weber, Stephanie. "Körper/Horror: Body Horror und das subversive Abjekt als Schlüsselfaktor in der Bildung von Identität in Genevieve Valentines Roman Mechanique. A Tale of the Circus Tresaulti." arcadia 51, no. 2 (2016): 363–84. http://dx.doi.org/10.1515/arcadia-2016-0028.

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AbstractThe character of the monster serves not only as an empty body onto which people can project dark aspects of their selves; it can embody wishes and desires. By these means, it does not simply call into question the rules and order of society, it may help restore the personal order. Something similar can be said of the abject. Under special circumstances, such as for the protagonist of Genevieve Valentine’s novel Mechanique. A Tale of the Circus Tresaulti, it is not the parting from the abject, but its inclusion and subversive quality which leads to the development of the subject’s ident

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18

Çakirlar, Cüneyt. "Masculinity, Scatology, Mooning and the Queer/able Art of Gilbert & George: On the Visual Discourse of Male Ejaculation and Anal Penetration." Paragraph 34, no. 1 (2011): 86–104. http://dx.doi.org/10.3366/para.2011.0007.

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The aim of this essay is to investigate the intersections between masculinity, shame, art, anality, the abject and embodiment by focusing on a particular period of the British art duo Gilbert & George's work in the 1990s. In their series The Naked Shit Pictures (1994), The Fundamental Pictures (1996) and The Rudimentary Pictures (1999), the duo's artistic self-performance opens a scatological narrative territory where the male body encounters its own abject fluids strategically magnified. Situating itself within the boundary between queer theory and Lacanian psychoanalysis with a particula

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19

Russell, Amy M. "Abject spaces and mimicry: rethinking the embodied effects of spatial containment in trafficking for sexual exploitation." cultural geographies 24, no. 4 (2017): 555–72. http://dx.doi.org/10.1177/1474474017719067.

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The spaces of trafficking for sexual exploitation have profound effects on the embodiment of women who are forced to live within them. This article argues that the spaces of human trafficking can be understood as abject spaces, and as such, they trouble multiple boundaries including those between hidden and exposed, domestic and commercial, and public and private. This article provides a theoretically speculative engagement with notions of abject space and mimicry to add a further dimension to the debate on the nature of the spaces of trafficking. These abject spaces, and the sexual exploitati

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20

Stang, Sarah, and Aaron Trammell. "The Ludic Bestiary: Misogynistic Tropes of Female Monstrosity in Dungeons & Dragons." Games and Culture 15, no. 6 (2019): 730–47. http://dx.doi.org/10.1177/1555412019850059.

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This article introduces the concept of the ludic bestiary, a game mechanic that the authors argue produces abject bodies. Using the “hag” in Dungeons & Dragons as a case study, the authors demonstrate how the game’s bestiary, the Monster Manual, functions as a tool of patriarchal control by defining, categorizing, and classifying the body of the female other as evil, abject, and monstrous. Importantly, the ludic bestiary not only exists as a core rulebook in Dungeons & Dragons but has also been remediated as a narrative-heavy submenu in several digital games. The authors find that the

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21

Sukwon Kim. "Study on Abject Art - Focus on roles of emotions of in Body -." Korean Journal of Art and Media 13, no. 1 (2014): 155–98. http://dx.doi.org/10.36726/cammp.2014.13.1.155.

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22

Jung, Mikyung. "From the ‘Abject’ Body to the ‘Whatever Being’ - Margaret Cho's Standup Comedy -." Journal of Modern English Drama 30, no. 2 (2017): 263–82. http://dx.doi.org/10.29163/jmed.2017.08.30.2.263.

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23

Thiher, Allen, and David Houston Jones. "The Body Abject: Self and Text in Jean Genet and Samuel Beckett." World Literature Today 76, no. 1 (2002): 182. http://dx.doi.org/10.2307/40157147.

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24

Waskul, Dennis D., and Pamela van der Riet. "The Abject Embodiment of Cancer Patients: Dignity, Selfhood, and the Grotesque Body." Symbolic Interaction 25, no. 4 (2002): 487–513. http://dx.doi.org/10.1525/si.2002.25.4.487.

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25

Uhlmann, Anthony, and David Houston Jones. "The Body Abject: Self and Text in Jean Genet and Samuel Beckett." Modern Language Review 98, no. 1 (2003): 269. http://dx.doi.org/10.2307/3738280.

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26

Plunka, Gene A. "The Body Abject: Self and Text in Jean Genet and Samuel Beckett (review)." French Forum 28, no. 2 (2003): 122–24. http://dx.doi.org/10.1353/frf.2004.0011.

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27

Bick, Tenley. "Horror Histories: Apartheid and the Abject Body in the Work of Jane Alexander." African Arts 43, no. 4 (2010): 30–41. http://dx.doi.org/10.1162/afar.2010.43.4.30.

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28

Hughes, Bill. "Wounded/monstrous/abject: a critique of the disabled body in the sociological imaginary." Disability & Society 24, no. 4 (2009): 399–410. http://dx.doi.org/10.1080/09687590902876144.

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29

Cowles, Mary Jane. "Close Encounters of the Abject Kind: The Intercultural Female Body in Amélie Nothomb's Japan." Women in French Studies 19, no. 1 (2011): 94–107. http://dx.doi.org/10.1353/wfs.2011.0002.

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30

Salih, Hannah. "Abject bodies and toxic flows in Ruth Ozeki’s My Year of Meats." Digital Literature Review 8, no. 1 (2021): 18–25. http://dx.doi.org/10.33043/dlr.8.1.18-25.

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In the seventh month of Jane Takagi-Little’s narration of her ‘year of meats’, she explains her incredulity at the dirty secret she finds within the preface of Fry’s Grammar School Geography: the essential conflict of man versus life. Ruth Ozeki’s novel My Year of Meats (1998) exposes the flows of power, violence and materiality that connect us with the meat we eat, the food we cook, and the ways we buy it in a globalized, capitalist world. This paper focuses on how the abject and the toxic, as they manifest across female and animal bodies, troubles the notion of a delineated sovereign subject

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31

Wing Bo TSO, Anna. "Losing Sight, Gaining Insight: Blindness and the Romantic Vision in Grimm’s “Rapunzel”." Advances in Language and Literary Studies 10, no. 3 (2019): 140. http://dx.doi.org/10.7575/aiac.alls.v.10n.3p.140.

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In Brothers’ Grimm’s fairy tales, the motif of blindness occurs quite frequently, each time with a different symbolic meaning. In “Hansel and Gretel”, blindness is represented as a body deformity, an abject feature of the red-eyed, half-blind cannibalistic witch who lives in the candy house in the middle of the forest, while in “Cinderella”, blindness becomes more: a brutal punishment for wrongdoings, such as when: the wickedly unkind stepsisters’ eyes are pecked out by pigeons as they are on the way to the wedding of the Cinderella and her handsome prince. Yet, in “Rapunzel”, blindness is not

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32

Lawson, Kate. "Abject and Defiled: Signora Neroni's Body and the Question of Domestic Violence in Barchester Towers." Victorian Review 21, no. 1 (1995): 53–68. http://dx.doi.org/10.1353/vcr.1995.0021.

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33

Spira, Karen. "Toward an Aesthetics of the Abject: Reimagining the Sensory Body in Arguedas’s Los ríos profundos." Revista Hispánica Moderna 67, no. 1 (2014): 73–89. http://dx.doi.org/10.1353/rhm.2014.0009.

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34

손석주. "Abject Body and Ethics of Resistance in Salman Rushdie’s Shame, Rohinton Mistry’s Such a Long Journey." English21 26, no. 4 (2013): 293–318. http://dx.doi.org/10.35771/engdoi.2013.26.4.014.

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35

Dougherty, Jane Elizabeth. "From Invisible Child to Abject Maternal Body: Crises of Knowledge in Edna O'Brien'sDown by the River." Critique: Studies in Contemporary Fiction 53, no. 4 (2012): 393–409. http://dx.doi.org/10.1080/00111619.2010.511319.

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36

Kingsley, Erin. "“Nothing Could Be That Grotesque and Live”: Mapping Abject Body Space in Robert Coover'sPinocchio in Venice." Critique: Studies in Contemporary Fiction 55, no. 1 (2013): 33–45. http://dx.doi.org/10.1080/00111619.2011.627402.

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37

Farhadi, Ramin, and Mohammad Amin Mozaheb. "Power & Surveillant Gaze in Howard Barker’s The Gaoler’s Ache." International Journal of Applied Linguistics and English Literature 7, no. 1 (2017): 239. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.1p.239.

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One of the goals of Howard Barker’s Theatre of Catastrophe is to challenge conventional view of historical events and writing of history. Barker’s historical approach is to first identify the repressive power institutions and their destructive effects on the lives of characters, then take up an uncompromising stance against the discourse of authority that tries to construct history according to its ends and attitudes. The Gaoler’s Ache (1998) is a play by which Barker represents the post-Revolutionary France and the exercise of disciplinary mechanism of power in a society that by means of surv

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38

Fitzpatrick, Matthew P. "The Pre-History of the Holocaust? TheSonderwegandHistorikerstreitDebates and the Abject Colonial Past." Central European History 41, no. 3 (2008): 477–503. http://dx.doi.org/10.1017/s0008938908000599.

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In chapter eleven ofMein Kampf, Adolf Hitler, having constructed aneal type “culture-bearing” Aryan race,1came to elucidate his views on the history of Jews within Germany. Until the time of Frederick the Great, he argued, “it still entered no one's head to regard the Jews as anything else but a ‘foreign’ people.”2Thereafter, he asserted, came a period of transition wherein Jews had “the effrontery to turn Germanic.”3The rest of the chapter, for Hitler, was an attempt to reverse this putative historical mistake, and presents the reader with a vitriolic casting out of Jews, described as “parasi

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39

Dennis, Fay. "Mapping the Drugged Body: Telling Different Kinds of Drug-using Stories." Body & Society 26, no. 3 (2020): 61–93. http://dx.doi.org/10.1177/1357034x20925530.

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Drugged bodies are commonly depicted as passive, suffering and abject, which makes it hard for them to be known in other ways. Wanting to get closer to these alternative bodies and their resourcefulness for living, I turned to body-mapping as an inventive method for telling different kinds of drug-using stories. Drawing on a research project with people who inject heroin and crack cocaine in London, UK, I employed body-mapping as a way of studying drugged bodies in their relation to others, human and non-human, in the injecting event. I invited participants to draw their bodies in describing t

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40

Druxes, Helga. "The Migrant’s Body: Publicity and the Abject in Contemporary Documentaries: Fabrizio Gatti, Ursula Biemann and Michael Glawogger." International Journal of the Humanities: Annual Review 9, no. 7 (2012): 211–22. http://dx.doi.org/10.18848/1447-9508/cgp/v09i07/43266.

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41

Machado, Júlia. "O CORPO FEMININO NA TELA: DESAFIOS POLITICO-AFETIVOS E OS SENTIDOS POÉTICOS NA REALIZAÇÃO DE UM CURTA-METRAGEM / The female body on-screen: political-affective challenges and poetic meanings in the making of a short film." arte e ensaios 26, no. 40 (2020): 31–43. http://dx.doi.org/10.37235/ae.n40.3.

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O artigo apresenta uma reflexão sobre a vitalidade político-afetiva do corpo feminino na tela a partir da realização de um curta-metragem, Femme (2016). Minha aspiração artística com o filme foi de transmutar os significados afetivos usualmente associados ao corpo feminino e trabalhar com sua visualidade extrema no limiar estético entre o belo e o abjeto. Ao lidar com a exibição de certos conteúdos do corpo visceral, a artista pode enfrentar um desafio duplo: se há o risco de se ser meramente apelativo aos sentidos, há também o risco de se repetir uma certa poética da abjeção que se tornou pad

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42

Rinaldi, Jen, and Kate Rossiter. "Huronia's Double Bind: How Institutionalisation Bears Out on the Body." Somatechnics 11, no. 1 (2021): 92–111. http://dx.doi.org/10.3366/soma.2021.0341.

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Frequently missing from histories of forced institutionalisation are close readings of the enduring impact on survivors' corporeality. In this article the authors analyse interview data featuring people who survived the Huronia Regional Centre: a total institution designed to warehouse people with intellectual disabilities that operated in Canada from 1876 to 2009. These interviews reveal the impact of institutional technologies on the bodies of the institutionalised, and how institutional survivors resisted those technologies. Institutional rituals meant to organise and cleanse residents, res

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43

Kanu, Haja Marie. "Poetics for a Black Revolt." Elyra, no. 16 (2020): 117–33. http://dx.doi.org/10.21747/21828954/ely16a8.

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This essay is written as a response to the compounded crises of police brutality and the Covid-19 pandemic, in the context of the Black Lives Matter movement reignited by the death of George Floyd in 2020. It aims to show how anti-blackness and capitalism are the common denominators contributing to mass death in both crises. The essay explores the possibilities for poetry as radical practice, particularly the work of Black women poets such as Audre Lorde, Ericka Huggins and Warsan Shire. What becomes evident is the centrality of the Black body in reimagining the future, despite its historical

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44

Balsam, Rosemary H. "On the Natal Body and Its Confusing Place in Mental Life." Journal of the American Psychoanalytic Association 67, no. 1 (2019): 15–36. http://dx.doi.org/10.1177/0003065119831767.

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These reflections concern ongoing confusions in holding together the gestalt of the natal body, sex, gender, and procreation. Highlighting theoretical confusions is the shifting history of relations among the material body, the “psychoanalytic body,”:sex, and gender. Studying these confusions and collecting more data may help the field advance where a rush to theoretical foreclosure will not. Observe, for example, how commonly foreclosing are the terms “masculine” and “feminine” when automatically applied to the merely biological attributes of a sexed body. More confusions arise from theorizin

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45

Shields, Rob. "Flânerie for Cyborgs." Theory, Culture & Society 23, no. 7-8 (2006): 209–20. http://dx.doi.org/10.1177/0263276406069233.

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As a literary figure or conceit, Haraway’s cyborg is kin to Dumas’ and Balzac’s flâneur. As a social science fiction, crossing and mixing categories, the cyborg is an abject quasi-body who does not fit the Enlightenment model of the political subject and actor. The ‘Manifesto’ has a geography of sites - Home, Market, Paid Work Place, State, School, Clinic-Hospital and Church - which this article updates and to which it adds the Body and the Web. However, Haraway’s ‘cyborg-analysis’ directs attention to the nanotechnological scale of biotechnology. The spatialization implied in the ‘Manifesto’

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46

Monzani, Josette Alves de Souza, and Mario Sergio Righetti. "O corpóreo e a erupção da bestialidade em Carne e Sozinho Contra Todos, de Gaspar Noé // The bodily and the eruption of bestiality in Meat and I Stand Alone, by Gaspar Noé." Contemporânea Revista de Comunicação e Cultura 16, no. 3 (2019): 786. http://dx.doi.org/10.9771/contemporanea.v16i3.25975.

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Resumo: Procura-se apontar de que modo os procedimentos estéticos do diretor franco-argentino Gaspar Noé acabam por realizar uma proposta de cinematografia radical que estabelece uma tensão no compartilhamento sensorial entre o corpo da tela, o corpo da câmera e o corpo do espectador. Carne (1991) e Sozinho Contra Todos (1998) narram a história de vida do Açougueiro, um cidadão à margem da sociedade metropolitana francesa, marcada por represamentos afetivos que o comprimem e levam a cometer ações bestiais marcadas por ‘enganos’, equívocos que o prejudicarão para sempre.O corpo cinematográfico

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47

Ruiz Tresgallo, Silvia. "The Dialectics of the Abject Body: Women and Devil in El Conde Lucanor and the Arcipreste de Talavera." Medievalia 23, no. 2 (2020): 65. http://dx.doi.org/10.5565/rev/medievalia.462.

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48

Harkin, Stephanie. "“The Only Thing You’ve Managed to Break So Far Is My Heart”: An Analysis of Portal’s Monstrous Mother GLaDOS." Games and Culture 15, no. 5 (2018): 529–43. http://dx.doi.org/10.1177/1555412018819663.

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This article interrogates Portal’s monstrous antagonist GLaDOS through a psychoanalytical lens, granting specific attention to her maternal coding. The process of presenting maternal authority as monstrous and in need of containment is a patriarchal practice that reinforces the mother gamer’s unwelcome presence within video game culture, outlined through a brief examination of various representational trends regarding the maternal figure in games. These patriarchal signifying practices also operate to preserve broader domestic and societal gendered ideologies. Portal’s projections of maternal

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49

BENÍTEZ OLIVAR, INMACULADA. "PERFORMATIVE SUBJECTHOODS: LESBIAN REPRESENTATIONS IN SPLIT BRITCHES’ BELLE REPRIEVE." Revista de Estudios Norteamericanos, no. 25 (2021): 51–74. http://dx.doi.org/10.12795/ren.2021.i25.03.

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Emerging postmodern theories of gender and sexuality frame the terms in which society has understood these concepts in an evolutionary way throughout history. The last century has witnessed the radical changes carried out mainly by feminist and LGTB movements. On the other hand, the theater, a subversive space where it is possible to experiment with different forms of subjecthood and communication, has been the laboratory in which it has been attempted to give a plastic form to these new currents of thought. In this sense, the work of Split Britches is remarkable for the innovative ways of bri

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Butler, Clare. "Managing the Menopause through ‘Abjection Work’: When Boobs Can Become Embarrassingly Useful, Again." Work, Employment and Society 34, no. 4 (2019): 696–712. http://dx.doi.org/10.1177/0950017019875936.

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This article examines how power and menopause relate at work. Based on qualitative data from 23 women administrative workers, the research finds that menopausal symptoms are sometimes ‘awful’, ‘knackering’ and ‘isolating’. Yet, as ‘real’ or ‘normal women’, they described getting lost in the menopause discourse and many spoke of going through ‘the change’ instead; this saw them make sense of, and respond to, their symptoms in (sometimes) unconventional ways. In addition, when a menopausal body runs rampant, its abject appearance can cause embarrassment, but not just for the woman – for anyone w

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