In The Powers of Horror Kristeva provides a definition of the abject ex-negativo, asserting that the abject is “neither subject nor object” (135), implying that it is a state which exists in-between, when the subject is directed towards its boundaries. (10). The nature of the abject is diffuse(d?), since it constitutes an ambiguous mixture of “judgement and affect, condemnation and yarning” (10). Kristeva argues that the abject strives towards “the place where meaning collapses” (2). Such an impetus designates a risk of destroying of the boundaries between the subject and the object, the personal and the social, the known and the unknown.
Women’s Body The Figuration of the female body is well described in both Woman at Point Zero by Nawal El-Saadawi and Margaret Atwood’s The Handmaid’s Tale. Both novels show that the women bodies are not their own and controlled by others which it turned into an object in order to survive. In this paper, I would like to argue how the objectification of the female bodies in both novels resulted in their oppression and sufferings. Moreover, what is the definition of the figuration of a body to both Offred and Firdaus? And is there a way out to survive this tragedy in both novels?
She points to the deficiency of the Bakhtinian theory that fails to establish dialogism between the grotesque body and the female one. While explaining that although he relates the grotesque body to the images of womb, pregnancy and childbirth, he fails to recognize their close affinity to “to social relations of gender” (The Female Grotesque: Risk, Excess and Modernity 63). She condemns the Bakhtinian contradictory treatment of the female body, which simultaneously celebrates its generative and subversively debasing potential and abbreviates it to be a mere vessel to give new birth (RW 240). While trying to explain what “remains repressed and undeveloped” in her male counterpart, Russo points to the subversive potential of the female grotesque to overthrow the normative constraints on female actand look (Russo 63). “[D]efined […] in relation to the ideal, standard, or normative form” of the twentieth century, this work tends to argue that the female grotesque in contemporary age still has the power to create horror as it plays a fundamental role “to identity formation for both men and women as a space of risk and abjection” (Russo 12, Miles
In her feminist film theory essay, "Visual Pleasure and Narrative Cinema", Laura Mulvey uses psychoanalysis to criticize and scrutinize the fetishism, scopophilia, and eroticism in Hollywood mainstream cinema. What Daughters of the Dust executes impeccably roots from radically abandoning the cultural conventions that depict women as subservient and submissive to patriarchal
Apparently, men do fear of women; and they put their fear on display with various exhibitions of hatred, which is sweeping broadly, cross-culturally, consecutively over time as a result of mental perturbation, not an endeavour to generate and elevate beneficial environment for a male-biased system. Described as one of men’s psychological anxiousness, misogyny owes its origin to “identical experiences of male’s development cycle, rather than causes by the environment alone” (2001). In other words, men’s development cycle is to blame for their inner struggle; and without uttering it directly, the implied word is “mother” and/ or “wife”. Ultimately, his work on misogyny itself is misogynistic because the underlying message is clear: despite being left with no voice and just a few choices, being victims of brutality, violence and hatred, women themselves are the root of the
More specifically, the protagonist recalls herself as a young girl being held “by the hand” by a “woman with Kool”, who purchases for her a “Mason Mint” subsequently takes her to a cabin but abandons her, being “nowhere to be seen” at the moment of the young girl’s experience with the harrowing symptoms of presumed oral sex, therefore allowing for the assumption of her mother (the “woman with Kool”) being the person prompting her to partake in unpleasant sexual encounters at a tender age. Furthermore, the metaphor that she feels devoid of “arms or legs” lying in the cabin, in concert with the reference mentioned previously of her feeling like a girl in a sideshow (essentially like a puppet), fortifies this idea of her having no agency over herself, of being controlled and exploited by her
Following labour, she returned to her maternal home. It is said of a woman “O ile setsetse”, she has gone to setsetse. This first stage of rites of passage, separation, rendered her structurally invisible from her religious and social community (Turner, 1967). During this post-partum period, she is a transitional figure, in between being a woman and a mother, in between the sacred and magical world of creating life (giving birth) and death, in between having her own identity as a woman and her new identity as a mother, even in between having her body belong to herself, separate from the baby. She is described as ‘o tshilafetse’ from the verb go tshilafala, to be dirty, contaminated.
In this text there are three Ovid’s myths explicated in the light of Freud’s thesis about sublimation. According to Freud it means that the energy related to sexual desire redirects in the form of another mental process. This Freud’s thesis can be found in all three myths of Ovid. In the further parts of the text there will be short analysis of all three.
horror movies can become an addictive habit, especially those of the great Stephen King. From his first novel Carrie (1974) to his most recent collection of short stories, Everything’s Eventual: Five Dark Tales (2002), King’s perspective on all things scary still strikes terror in his readers. In 1982, Playboy featured King’s article, “Why We Crave Horror Movies,” in which he explains why he feels people are drawn to horror films. King’s use of humorous tone helps him convey his opinion in a casual manner; whereas, his use of figurative analogies and examples give him the support and credibility needed to present his opinion in an educated and influential way.
The essay will also tackle three characteristics of the Mother archetype, such as life giver; maternal solicitation and sympathy; terrifying and inescapable. This archetype is also related with the concepts of “fertility and fruitfulness” . Whereas a contrasting characteristic related to this archetype includes being terrifying and inescapable. These above-mentioned characteristics will be the subtopics in which the main body will be divided. Such distinctive features are depicted in Amy Tan
Sue Ellen Browder draws the reader into not only the story which is very persuasive, but for the universal story that has effectively become a monumental foundation for modern culture. The right to life has been replaced by the right to die, and every aspect of the degradation of human life from natural conception to natural death can be attributed hardcore feminist political impetus from the 1960s. Sue Ellen Browder conversion story that softens the blow of some of the more shocking parts of the book, and also returns the reader to the main message of hope and redemption suffering, which are virtues opposed feminism. Subverted is a timely book that invites new questions to old problems.
The mother-women seemed to prevail that summer at Grand Isle. It was easy to know them, fluttering about with extended, protecting wings when any harm, real or imaginary, threatened their precious brood. They were women who idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels. (567)
Monsters that resemble familial bodies receive our attention through appearing as a construct of both, the understood and unthinkable, commanding to be seen. This existence demands the participation of the audience to define and categorise what it is to be normal, suggesting that the image of the monster is never fixed; constantly evolving through interpretation. When considering the monstrous within the Middle Ages, this is best represented in the depiction of the Sheela-na-gig that exist today often eroded or decayed due to the excess of human touch. The utmost importance of this source is that it reveals an audience desired contact and domestication of the obscene which may or may not have occurred in the medieval period. When scholars interpret the Sheela-na-gig to be representative of the offensive, analysis is thus partly superficial as it deals with investing their own narrative within an imperfect material.
When normally timid women, rendered even more so by pregnancy, triumphed over the terror of death (Saxton 30). If death did occur during childbirth, the women is heavily praised for their sacrifice. When it came to being a mother, women were religious teachers to their children. She was to work as hard as she could, instilling the principles of religion in her babies and catechizing them as soon as they can speak (31). To righteous puritan mothers the path of god was a must for their children.
Secondly, I will try to question the Liberal Feminist stand of Surrogacy as an ‘autonomous choice’. Thirdly, I will try and explain the way through which a surrogate’s labour is exploited and finally by taking up Marx’s idea of ‘Alienated Labour’, I will try to explain the alienation labour performed by a surrogate mother. In a Patriarchal and Patrilineal structure,