153 Sentences With "abjection" | Random Sentence Generator

True abjection cannot be experienced by white male characters in cinema.

At the same time, it dives into excruciating episodes of humiliation and abjection.

Using lo-fi abjection, transgressive humor, and campy theatricality, the artists in Bitch Slap!

This is an image of middle-aged abjection, equally repulsive as the miner's mangled leg.

I noticed beginning abjection early then, waking up after several weeks and realizing where I was.

Virginia Lee Montgomery toys with the psychic space in which abjection is gendered, playfully prodding erotic hierarchies.

There's few legible words on the EP, but the moods it conveys are clear: sadness, abjection, existential anxiety.

But with Care, Krell makes the point that exuberance — and not just abjection — has a place in serious art.

Sadness, lust, domesticity, and abjection function in her work as intellectually legitimate subjects of consideration in and of themselves.

But "Famous Blue Raincoat" notwithstanding, this was not the usual literary abjection, or any sort of bargain-basement Baudelaireanism.

However, this is immediately qualified and undermined by a comical voice of abjection: Basically, I'm hard up for humor.

Dwelling on abjection was even written off years ago by art historian Hal Foster as a problematic no-no.

Hsieh's fugitive presence — traced throughout — speaks both of the abjection and ingenuity found in survival by those who have nothing.

Over the course of the song, the message becomes fragmented and fractured, its grammars unclear, but its abjection increasingly apparent.

The exhibition brochure considers desire, fear, eroticism, as well as abjection, the disintegration of barriers and even the evocation of death.

As Finsel enthusiastically embraces his tubular embodiment, Upson reclaims the sense of abjection thrust upon women's flesh, whether genuine or fake.

For fans of her band, this'll be familiar emotional territory—rage, abjection, fear—but Crisis Sigil uses new means to get there.

Stanya Kahn's tragicomic "It's Cool, I'm Good," about ecology, animal wisdom, and salvation through abjection, is transcendent: one look and you're hooked.

Its front is bedazzled with cigarettes—a recurring symbol of abjection in her work—while its back is charred, having been set aflame.

FB: Maybe because we are sick of consuming everything, and the instant incorporation of difference and abjection through political memes and hash-tags.

Women are not often encouraged to perform exalted abjection, to swerve into a glorious failure as a way out of a dull, depressive one.

The first is fiction about women's abjection, like Chris Kraus's novel I Love Dick, a tract of letters about the protagonist's humiliatingly unrequited crush.

In rock 'n' roll mythology, the road to transcendence often passes through the gutter, and "Her Smell" sets out a beggar's banquet of abjection.

What he meant by that, I believe, was that abjection and pain and abuse are things that are worth paying attention to in art.

Chiron and Paula certainly suffer (and inflict suffering on each other), but they are liberated from the standard indie-film arc of abjection and redemption.

Many critics found it grotesque and facile, but I have always loved it for its pure abjection, and its ability to communicate interiority through inventory.

Expressions of sexual autonomy and power in "Evolution" exist in a space of abjection until Myles breaks them free, partly through the use of facts.

For example, I wonder how Julia Kristeva, the noted theorist who has written on abjection, might characterize Soutine and his images of decaying beef and fowl.

While abjection is often the defining characteristic of any performer — a palpable discomfort on display — it is especially the province of comedians like Pryor and Chappelle.

But she also judges Gould in ways Mitchell never thought to, looking beyond the spectacle of his own abjection to the pain and misery he caused others.

Well-received at the Edinburgh Fringe festival (European audiences often enjoy American abjection), the play seems to delight in every wrong choice it forces its characters to make.

The young Knausgaard's experiences of public abjection are the flip side of a vanity that will not allow him to accept the standards lesser people apply to themselves.

Smith's lumpy and knotted fabric bundles, which call to mind a homeless person's bindle, don't try to salvage or redeem excess textiles so much as accentuate their abjection.

Performing romantic abjection online is kind of my schtick, so trust me when I say that it doesn't make you feel better, no matter how self-deprecatingly you frame it.

Jackson: In general, I think dealing with abjection is one of the most powerful and effective roles of contemporary artists; and, with the current political climate this seems even more relevant.

Sure, Rick's preemptive strike against the Saviors may have been an unwise decision that led to Glenn's death, Rick's humiliation, and the subsequent abjection of the Alexandrians to the Savior's demands.

That gesture crystallizes a quality that I think of as White's signature, and as an ideal of art: it's elegant, refined, ceremonious; it's also a complete surrender to the abjection of desire.

If abjection is understood as being burdened by a part of oneself that can never be cast off and all its attendant frustrations, then Stanfield seems burdened by his desire for an audience's attention.

He parses out information about his characters incrementally in scenes that come across less like moments from fully realized lives and more like flashcards: a man walking amid debris to imply alienation and abjection.

The writers could have killed BoJack as Breaking Bad did with Walt or left him in some ambiguous state like Tony in The Sopranos — where we are spared from witnessing the antihero's utter abjection.

Sculpting from models or imagination, his hand ate away flesh to register how, instead of in what form, people existed for him, whether in pride or abjection, in loneliness or resilience—perhaps ridiculous, perhaps frightening.

" On the multitudes embodied by the color black, favored by ninjas, nuns, fascists and fashionistas alike, they write "[Black is] the color of abjection and of arrogance, of piety and of perversity, of restraint and of rebelliousness.

Of Hsieh's tireless endurance of physical abjection Heathfield remarks, "each of these works is about forms of bare existence in which resilience is pitched against adversity, and the fugitive qualities of life are valued in their passing."

That image, in which both animal and human are shown lying on the sidewalk, seen from a high angle and blending in with the muted colors of dirt, succinctly captures a mix of abjection and societal indifference.

I didn't feel I had the visual language until now to adequately describe that form of objectification, perhaps because I was undergoing several forms of abjection myself as I was entering womanhood and exploring my own relationship to pain.

There's moments of staticky abjection and greyscale darkroom grit, but the record's main suite is named after the North star, forever a guiding light to those lost in darkness—a way out for those searching desperately enough for it.

This is how I feel and imagine shame, not as guilt or regret or remorse, not as some particular emotion or amalgam of emotions, but as a basic provision, abjection, the condition of those who have been cast out, neglected, harmed.

I looked forward to poverty, abandonment by my remaining family members, the inability to write or work, the dissolution of friendships, professional and artistic oblivion, loneliness and deterioration, institutionalization and the removal from society—abjection and the end of belonging.

Other musicians working intensely with the sound of laptops have strove to find ways to find its humanity and intimacy, but much of Autechre's work over the years have been content to work in the sounds of disconnection and abjection.

They discovered that in photographs of a 1999 exhibition at the Centre Gallery, The Abject Body: Notes on Abjection and Prejudice, the bottom half of the walls had been painted a soft teal — the color Cárdenas found while mining the room.

Same with "Let Love Be Your Energy" or "The Road to Mandalay" or "Rock DJ." Robbie's got that ineffable sense of showbiz about him which means he can dive headfirst into rancid pits of abjection and come up smelling of Davidoff Cool Water.

But while this show is theoretically rooted in the City of Brotherly Love, its lurches from high to low culture, celebration to abjection, and comedy to tragedy feel bigger than that; you might say that as Philadelphia goes, so goes the country.

Highlights include David Witzing's "To the Inland Ocean," a two-part nature film that combines still shots in color, with pixelated black-and-white footage of sublime seascapes, and Eli Elliott's "Orpheus 5," a combination of found footage and Paul McCarthy-style abjection.

It wants to be — and the industry, critics, and fans, in ways alternately breathless and begrudging, have taken it seriously as — a reckoning with the extremes of abjection, with the psychic trauma and social rejection that could lead someone to a nihilistic howl of laughter.

That homogenization of our visual language means we have become fascinated with abjection and violence, and because those images we make have an unmistakable moral urgency, we presume that those "bearing witness" to all this darkness — to shock our consciences — must themselves be noble.

At the same time, the imagery and stylistic tropes that Pettibon gleans from historically tawdry sources — modes of expression specializing in abjection, violence, and despair — collide with his multilayered and sometimes lofty inscriptions, amassing a combinatory force that lands a punch to the head again and again.

An awareness of the proximity and the ever-present threat of poverty and abjection connects Taylor's work to the hip-hop that he loves and references, mining Kendrick Lamar's lyrics for titles or using Tupac's face for an installation, and painting several lively portraits of rappers themselves.

Juliana Huxtable, an artist who often tweets about her predilection for mind-altering substances and whose Twitter display name used to be "YUNG LIMINAL CRISIS AKA ABJECTION DOLL *SOBBIN*," creates art from the dissociative space, birthing her gallery shows and poems during out-of-body experiences.

African American artists, historically denied full participation in American citizenship under slavery and Jim Crow, were often excluded from the category of genius or—in the case of visual art geniuses like Basquiat—obstructed from the full expression of their artistry by impinging discourses of primitivism and abjection.

I wrote at the time about how the teary arcs of its trance inflections and its abstract narratives about A.I. falling in love put him at the forefront of the wave of reformed EDM kids turning introspective—finding loneliness and abjection at the heart of the big-tent dance music enterprise.

That's partly why I used to think Houellebecq was writing some of the most fascinating (if repugnant and troubling) political satire about rich, liberal democracies — though now that the abjection and nihilism he captured so well is ascendant, I don't know if I could still read him in the same way.

"Is there a particular kind of abjection that some of us are drawn to, participate in, possibly romanticize?" she asks, while also wondering, touchingly — at this point as a single mother of two — "what deep security am I withholding from the children?" by insisting on living life on her own terms.

For a Negro in abjection, waking life and dreams do not fully announce themselves as separate: The cognitive dissonance and distortion of reality inflicted on us by racist systems is better described as a waking nightmare, making it difficult to tell when we are asleep and when we are awake.

The people that stuck around through The Process used those years of abjection as an excuse to dream of a brighter future; in doing all that, in their various fan communities, they built in the hopeless present a new and communal vision of what it meant to care about a basketball team.

"My reasoning for depicting women the way I do, across a broad spectrum of feelings and states of being and levels of self-acceptance or sexiness or abjection, always has to do with the way I personally feel in my own skin and my own mind as a woman," Benjamin tells Creators.

There was an interesting parallel between trying to find the language to talk about racism in the UK, where it's a very touchy subject – both as a woman and as a migrant – and discussing the abjection of Palestinians in Lebanon, which was the main point of contention when it came to getting backing from cultural institutions in Beirut.

Little Women is, in fact, propelled less by its sweetness and light than it is by its internal frisson: between Marmee's placidity and her declaration of anger, between the family's love of their father and his infuriating uselessness, between the novel's embrace of the values of sentimental womanhood and their clear association with death and abjection.

Until then, those of us who are not much in touch with the Southern California scene (and not black) had some basic parameters for the art of that place — from the "abstract classicists," of whom John McLaughlin became the most renowned; the "finish fetish" of John McCracken and company; "light and space" à la Robert Irwin; and on through the cool Pop of Ed Ruscha; the transgressive performance art of Chris Burden; the wry conceptualism of John Baldessari; Paul McCarthy and Mike Kelley's wallowing in abjection: this was what had made the national and international scene — and no black artists were on the bill.

Creed further acknowledges the influence of Julia Kristeva, by examining the notion of abjection. According to Kristeva, abjection is the failure to distinguish what constitutes as "self", and what is "other". It is a breakdown of borders between human existence and non- existence. Creed argues that abjection theory is profoundly engrained within the horror genre.

Powers of Horror: An Essay on Abjection. Columbia University Press: 65-67.

The term abjection literally means "the state of being cast off". The term has been explored in post-structuralism as that which inherently disturbs conventional identity and cultural concepts. Among the most popular interpretations of abjection is Julia Kristeva's, pursued particularly in her 1980 work Powers of Horror: An Essay on Abjection. Kristeva describes subjective horror (abjection) as the feeling when an individual experiences, or is confronted by (both mentally and as a body), what Kristeva calls one's "corporeal reality", or a breakdown in the distinction between what is Self and what is Other.

The concept of abjection builds on the traditional psychoanalytic theories of Sigmund Freud and Jacques Lacan.

Stephanie Terreni Brown is an academic in the field of colonialism. In her 2014 paper she examines how sanitation and dirt is used in colonial narratives through the example of Kampala in Uganda. Writing also about Abjection through sanitation planning in the city and how this plays a key role in this narrative of colonisation. Brown describes Abjection as the process whereby one group others or dehumanizes another.

The concept of abjection is often coupled (and sometimes confused) with the idea of the uncanny, the concept of something being "un-home-like", or foreign, yet familiar.Childers/Hentzi, p. 1 The abject can be uncanny in the sense that we can recognize aspects in it, despite its being "foreign": a corpse, having fallen out of the symbolic order, creates abjection through its uncanninessWinifred Menninghaus, Disgust (2003), p. 374.creates a cognitive dissonance.

372 Harvard University Press, Cambridge, MA (1989) M. Keith Booker. Techniques of subversion in modern literature: transgression, abjection, and the carnivalesque. University Press of Florida, 1991. . pg. 81–82.Fowler, Alastair.

According to Alan Lloyd Smith,Smith, Allan Lloyd (2004). "American Gothic Fiction: An Introduction". New York: Continuum, 2004. Print. a concept of domestic abjection is one that "disturbs identity, order, and system".

Powers of Horror: An Essay on Abjection () is a 1980 book by Julia Kristeva. The work is an extensive treatise on the subject of abjection,Fletcher & Benjamin, "Abjection, melancholia and love: The work of Julia Kristeva" (2012), p. 93 in which Kristeva draws on the theories of Sigmund Freud and Jacques Lacan to examine horror, marginalization, castration, the phallic signifier, the "I/Not I" dichotomy, the Oedipal complex, exile, and other concepts appropriate to feminist criticism and queer theory. According to Kristeva, the abject marks a "primal order" that escapes signification in the symbolic order; the term is used to refer to the human reaction (horror, vomit) to a threatened breakdown in meaning caused by the loss of the distinction between subject and object, or between the self and the other.

Another important aspect of Matilda's education is that, unlike Miss Milner, who participated widely in fashionable society as an heiress, Matilda is imprisoned in her father's house, and her daily experience is characterized by abjection.

Abjection prevents the absolute realization of existence, completing the course of biological, social, physical, and spiritual cycles. The best representation of this concept can be imagined as one's reaction to gazing at a human cadaver, or corpse, as a direct reminder of the inevitability of death. The abject is, as such, the process that separates from one's environment what "is not me". Kristeva's concept of abjection is used commonly to explain popular cultural narratives of horror, and discriminatory behavior manifesting in misogyny, homophobia, and genocide.

Kristeva claims that within the boundaries of what one defines as subjecta part of oneselfand objectsomething that exists independently of oneselfthere resides pieces that were once categorized as a part of oneself or one's identity that has since been rejectedthe abject. It is important to note, however, that Kristeva created a distinction in the true meaning of abjection: "It is thus not the lack of cleanliness or health that causes abjection but what disturbs identity, system, and order. What does not respect borders, positions, rules. The in-between, the ambiguous, the composite".

Organizational theory literature on abjection has attempted to illuminate various ways in which institutions come to silence, exclude or disavow feelings, practices, groups or discourses within the workplace. Studies have examined and demonstrated the manner in which people adopt roles, identities and discourses to avoid the consequences of social and organizational abjection.Kenny (2010); Bulter (2004); cited in Risque, "States of Abjection" (2013), p. 1279–80. In such studies the focus is often placed upon a group of people within an organization or institution that fall outside of the norm, thus becoming what Kristeva terms "the one by whom the abject exists," or "the deject" people.

Coleman, Jonathan Rent: Same-Sex Prostitution in Modern Britain, 1885-1957, University of Kentucky, 2014, p. 10 Saul has also come to be seen by some as a defiant individual in a society that sought to repress him: "a figure of abjection who refuses his status".

Granny Goodness has been described as a symbol of the "monstrous feminine" who "violates traditional paradigms of motherhood and femininity" through her wickedness, as opposed to more traditional, nurturing depictions of motherhood in fiction.O'Brien, Annamarie. "'How Can I Refuse You, Mother Box?!' Abjection and Objectification of Motherhood in Jack Kirby's Fourth World".

Masculinity, and speech associated with a heterosexual male, is constrained by cultural expectations for men to avoid 'abjection' (as further elaborated in Gender Trouble);Butler, Judith. Gender trouble. Routledge, 2007. power differences amongst the genders may lead to speakers adopting different speech styles that conform with their identities, or expected gender performances (e.g.

Thus the sense of the abject complements the existence of the superegothe representative of culture, of the symbolic order:Kristeva, p. 15. in Kristeva's aphorism, "To each ego its object, to each superego its abject".Kristeva, p. 2. From Kristeva's psychoanalytic perspective, abjection is done to the part of ourselves that we exclude: the mother.

17 June 2015. She frequently uses her own sexual experiences, or what she terms "sexual archives" to illuminate her ideas on racialized abjection, feminine subjection, sexual vulnerability, and femme identity. In her writing, she often references the sensory, particularly touch, as a way to articulate an embodied sexual practice and a writing practice rooted in sociality.

Kristeva, "Powers of Horror", p. 4; Guberman, "Julia Kristeva Interviews", (1996). Since the abject is situated outside the symbolic order, being forced to face it is an inherently traumatic experience, as with the repulsion presented by confrontation with filth, waste, or a corpsean object which is violently cast out of the cultural world, having once been a subject.Julia Kristeva, 'Approaching Abjection'.

He is the author of Auschwitz and Afterimages: Abjection, Witnessing and Representation, After Francis Bacon: Synaesthesia and Sex in Paint and co-editor of Representing Auschwitz: At the Margins of Testimony (2013) and Matters of Testimony : Interpreting the Scrolls of Auschwitz (2017). Chare was a 2007 recipient of the Leverhulme Trust Award recognising his research into paintings by Francis Bacon.

According to Galaction, he was a "hajduk", who "robbed away and gave away."Boia, p.190 Zambaccian portrayed him as one "created from a mold in which the evil and the good genius were present in equal measure. [...] Cynical and suave, generous on one side, a con artist on the other, Al. Bogdan-Pitești relished the abjection that he served with cynicism".

Popkewitz engages in fundamental questions about social exclusion in national school reform efforts. Popkewitz explores historically and sociologically how a comparative style of thought enters into school reform to recognize difference. In his view, difference produces distinctions and differentiations that leads to exclusion and abjection. Struggling for the Soul (1998) combines Foucauldian power-knowledge nexus with ethnographic research of teachers in urban and rural schools.

Studying abjection has proven to be suggestive and helpful for considering the dynamics of self and body hatred.Dryden, Ussher & Perz, "Young women's construction of their post-cancer fertility" (2014); Parker, "Critical looks: An analysis of body dysmorphic disorder" (2014); Schott & Sordengaard, "School bullying: New theories in context" (2014). This carries interesting implications for studying such disorders as separation anxiety, biologically centered phobias, and Post Traumatic Stress Disorder.

Hypothesized emotional response of human subjects is plotted against anthropomorphism of a robot, following roboticist Masahiro Mori's theory of the uncanny. The uncanny valley is the region of negative emotional response towards robots that seem "almost human". Movement amplifies the emotional response. This concept is closely related to Julia Kristeva's concept of abjection, where one reacts adversely to something forcefully cast out of the symbolic order.

Launched in the summer of 2013 by a group of students from the School of Oriental and African Studies at the University of London,SOAS Alumni. Hysteria Magazine HYSTERIA aims to be a platform for radical creative discourse about feminism encompassing poetry, text and visual arts. Hysteria is sold as a quarterly publication. Examples of themes from early publications were: 'BackLash'; 'Roles and Rules'; 'Antagonism' and 'Abjection'.

Julia Kristeva developed the idea of the abject as that which is rejected by/disturbs social reasonthe communal consensus that underpins a social order.Julia Kristeva, Powers of Horror: An Essay on Abjection (1982)m p. 65. The "abject" exists accordingly somewhere between the concept of an object and the concept of the subject, representing taboo elements of the self barely separated off in a liminal space.Childers/Hentzi, p. 308.

That event or circumstance comes to be interpreted and viewed in a singular way by many people, creating a unified, accepted meaning. The purpose such strategies serve is to identify and attempt to control the abject, as the abject ideas become ejected from each individual memory. Organizations such as hospitals must negotiate the divide between the symbolic and the semiotic in a unique manner.Risq, "States of Abjection" (2013), p. 1279.

This series is inspired from the story "Little Red Riding Hood" and other essays written by Tracy Williams. The essays spoke about the importance of fairytales and how they caution people through these made-up stories, about bigger issues. By placing her female subject in red to reference back to the Little Red Riding hood. Vargas's goal here is to bring light to the issues of cannibalism, abjection, and sexuality.

Brooks states that the marginalized characters in Berridge's short stories (and in Drift Street and Praise) are able to stay in "shit creek" (an undesirable setting or situation) and "diver[t]... flows" of these "creeks", thus claiming their rough settings' "liminality" (being in a border situation or transitional setting) and their own "abjection" (having "abject bodies" with health problems, disease, etc.) as "sites of symbolic empowerment and agency".

Each field came to regard "gender" as a practice, sometimes referred to as something that is performative. Feminist theory of psychoanalysis, articulated mainly by Julia KristevaAnne-Marie Smith, Julia Kristeva: Speaking the Unspeakable (Pluto Press, 1988). (the "semiotic" and "abjection") and Bracha L. EttingerGriselda Pollock, "Inscriptions in the Feminine" and "Introduction" to "The With-In-Visible Screen", in: Inside the Visible edited by Catherine de Zegher. MIT Press, 1996.

These included various acts of sexual and physical abjection. Peter Christopherson, an employee of commercial artists Hipgnosis, joined the group in 1974, with Carter joining the following year. The group renamed itself Throbbing Gristle in September 1975, their name coming from a northern English slang word for an erection. The group's first public performance, in October 1976, was alongside an exhibit titled Prostitution, which included pornographic photos of Tutti as well as used tampons.

In the 1940s, Hurston's work was published in such periodicals as The American Mercury and The Saturday Evening Post. Her last published novel, Seraph on the Suwanee, notable principally for its focus on white characters, was published in 1948. It explores images of "white trash" women. Jackson (2000) argues that Hurston's meditation on abjection, waste, and the construction of class and gender identities among poor whites reflects the eugenics discourses of the 1920s.

Parallels between humans and other living things on the planet were made obvious by the aforementioned. This is manifest in stories like H.P. Lovecraft’s "The Outsider" and Nicholson Baker's "Subsoil". Ghosts and monsters are closely related to this theme; they function as the spiritual equivalent of the abhuman and may be evocative of unseen realities, as in The Bostonians. Julia Kristeva's concepts of jouissance and abjection are employed by American Gothic authors such as Charlotte Perkins Gilman.

Gurth reveals in a monologue that he procures the women for Morgan and has aspirations to take over. During dinner, Morgan and Françoise discuss love and beauty, and Morgan reveals that time is at her command. Afterward, she proceeds to caress and kiss Françoise, while her women wonder if they have been forgotten. Morgan offers immortality and beauty; if the offer is not accepted, a life of abjection among a group of older women is the victim's lot.

"Abjection" is often used to describe the state of often-marginalized groups, such as women, unwed mothers, people of minority religious faiths, sex workers, convicts, and poor and disabled people. From a deconstruction of sexual discourses and gender history Ian McCormick has outlined the recurring links between pleasurable transgressive desire, deviant categories of behaviour and responses to body fluids in 18th and 19th-century discussions of prostitution, sodomy, and masturbation (self-pollution, impurity, uncleanness).Sexual Outcasts. 4 vols.

The abject is a concept that is often used to describe bodies and things that one finds repulsive or disgusting, and in order to preserve one's identity they are cast out. Kristeva used this concept to analyze xenophobia and anti-Semitism, and was therefore the first to apply the abject to cultural analysis.Oliver, "Psychoanalysis, aesthetics, and politics in the work of Kristeva" (2010). Imogen Tyler"Revolting subjects: Social abjection and resistance in neoliberal Britain" (2013), p.

Helen Wheatley notes that the best adaptations maintain the stories' "sense of decorum and restraint, ... withholding the full revelation of the supernatural until the very last moment, and centring on the suggestion of a ghostly presence rather than the horror of visceral excess and abjection."Wheatley, 55. After the first two adaptations, both done by Clark, the tales were adapted by a number of playwrights and screenwriters. In most instances the adaptations alter the original source material.

" He then explains and points out the link between the Saint's indestructibility and that of "recent pop-culture vigilantes" such as Robocop and The Terminator, while at the same time noting that there is to be a difference by describing the Saint as a "spiritual alien cyborg" from the past acting in the present, as opposed to the future and past dynamic by the latter of the two; he also makes references to Mary Shelley's Frankenstein. He too points out the "theological" nature of Preacher and emphasises that the Saint of Killers is "a reminder of the destructiveness that lurks within humanity" whilst adding "... unleashed by God's interference and then abandonment", only if the "future mechanical cyborg killer" was indeed a result of humanity's deemed inherit interference with the natural created order. Using the perspective of Philosopher Julia Kristeva, Grimshaw places significance on the Kristevan outlook in that "The world is a site of Kristevan abjection", whilst adding that "The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life.

A historian of Late Antiquity, Peter Brown, stated that Purity and Danger was a major influence in his important 1971 article "The Rise and Function of the Holy Man in Late Antiquity", which is considered to be one of the bases for all subsequent study of early Christian asceticism. In Powers of Horror (1980), Julia Kristeva elaborates her theory of abjection and recognises the influence of Douglas's "fundamental work" but criticises certain aspects of her approach.Kristeva, Julia, Trans. Leon Roudiez (1982).

For Freud, the uncanny locates the strangeness in the ordinary. Excerpted from Expanding on the idea, psychoanalytic theorist Jacques Lacan wrote that the uncanny places us "in the field where we do not know how to distinguish bad and good, pleasure from displeasure", resulting in an irreducible anxiety that gestures to the Real. The concept has since been taken up by a variety of thinkers and theorists such as roboticist Masahiro Mori's uncanny valley and Julia Kristeva's concept of abjection.

Nirvana was an American rock band formed in Aberdeen, Washington, in 1987. Founded by lead singer-songwriter and guitarist Kurt Cobain and bassist Krist Novoselic, the band went through a succession of drummers before recruiting Dave Grohl in 1990. Characterized by their punk aesthetic, Nirvana's fusion of pop melodies with noise, combined with their themes of abjection and social alienation, made them hugely popular during their short tenure. Their music maintains a popular following and continues to influence modern rock and roll culture.

Nirvana memorabilia at alt= Characterized by their punk aesthetic, Nirvana often fused pop melodies with noise. Combined with their themes of abjection and alienation, the band became hugely popular during their short tenure. Stephen Thomas Erlewine wrote that prior to Nirvana, "alternative music was consigned to specialty sections of record stores, and major labels considered it to be, at the very most, a tax write-off". Following the release of Nevermind, "nothing was ever quite the same, for better and for worse".

Maureen Sabine, "Crashaw and Abjection: Reading the Unthinkable in His Devotional Verse", in John Donne and the Metaphysical Poets, edited by Harold Bloom. (New York: Bloom's Literary Criticism/Infobase Publishing, 2010), 111-129. After renewed diplomatic entreaties to the pope in 1647, Crashaw secured a post with the virtuous Cardinal Palotto who was closely associated with the English College.Pope Alexander the Seventh and the College of Cardinals by John Bargrave, edited by James Craigie Robertson (reprint; 2009) and stayed at the Venerable English College.

Syriza has called Georgiadis's claims an "ahistorical abjection". On 16 November 2017, Georgiadis announced that he would cease working as a telemarketer. A few days earlier he came under intense criticism after it was revealed that the healing effects supposedly provided by the nanotechnological jackets that he was promoting were in fact void and based on pseudoscience. Fellow telemarketer Makis Triandafillopoulos had been previously convicted of fraud for selling exactly the same model of nano jackets following an investigation by the Greek consumer protection agency.

Victor's installations are often theatrical in nature, and of a scale that allows the viewer to 'enter' the work, such as in her 1994 works His Mother is a Theatre and Expense of Spirit in a Waste of Shame. Such works are highly performative in nature, often utilising kinetic and aural elements. Issues of gender, marginalisation, and abjection are significant themes explored—in her 1998 performance work, Still Waters (between estrangement and reconciliation), Victor performed within the drains of the Singapore Art Museum, the role of which Victor explores in her doctorate thesis, Abjection: Weapon of the Weak, writing:Such drains were a relic of the building's colonial architecture, made purposeless by retrofitted glass walls that turned a once-exposed balcony on the second-floor into a sealed, controlled air-conditioned space for artworks. The position of the artist's body within this liminal space, half-submerged in drain water, spoke to the role of performance art with its de facto ban in Singapore; the spectre of coloniality upon the postcolonial body; as well as the marginalised presence of women artists in the male-dominated art landscape of the time.

Art historian Nicholas Chare discusses the concert performance Todesfuge [Death's Fugue] by Diamanda Galás in his study Auschwitz and Afterimages: Abjection, Witnessing and Representation (2011). Chare is interested in the Holocaust and representations of it in painting, photography, musical performance and museum artefacts, so in the section where he examines how Galás has transformed the words in the poem Todesfuge, which was written by the Romanian-born German-language poet Paul Celan, he looks at her work to investigate the relationship between style and horror in music, poetry and art.

We must abject the maternal, the object which has created us, in order to construct an identity. Abjection occurs on the micro level of the speaking being, through their subjective dynamics, as well as on the macro level of society, through "language as a common and universal law". We use rituals, specifically those of defilement, to attempt to maintain clear boundaries between nature and society, the semiotic and the symbolic, paradoxically both excluding and renewing contact with the abject in the ritual act.Barbara Creed, in Ken Gelder, The Horror Reader (2000), p. 64.

He seems to be saying that violence is innate in man, "forged in the substance of what, since Freud, we have called the id." Hughes believed that in the end there is only the violated emptiness of acceptance of our fallen nature: like the painting of Goya's dog, "whose master is as absent from him as God is from Goya."Hughes (1990), 64 The Disasters of War plates are preoccupied with wasted bodies, undifferentiated body parts, castration and female abjection. There are dark erotic undertones to a number of the works.

His most widely read book is Doom Patrols, a "theoretical fiction" that outlines the state of postmodernism during the early 1990s, using poetic language, personal anecdotes, and creative prose. He has also written extensively about music videos as an artform. Shaviro has written a book about film theory, The Cinematic Body, which according to the preface is "about postmodernism, the politics of human bodies, constructions of masculinity, and the aesthetics of masochism." It also examines Julia Kristeva's concept of abjection and the dominance of Lacanian tropes in contemporary academic film theory.

At Budd's final words, "God bless Captain Vere!", Vere crumbles, and Billy is subsequently hoisted up and hanged on the ship's rigging. At this point the crew is on the verge of mutiny over the incident, but Vere can only stare off into the distance, the picture of abjection, overtaken by his part in the death of innocence. Just as the crew is to be fired upon by the ship's marine detachment, a French vessel appears and commences cannon fire on the Avenger, and the crew eventually returns fire.

" She wrote that Lawrence saw The Plumed Serpent as "a magical incantation" intended to "change the world". She interpreted the novel in terms of the philosopher Julia Kristeva's emphasis on abjection in Powers of Horror (1980), and maintained that it emphasised "male sexuality and female submission". Luis Gómez Romero compared the novel to Kangaroo, writing that in both works Lawrence, "exposes the advent of discrete crises resulting from the failure of human ideals and institutions to prevent and tame violence." He noted that critics had often regarded the work as a "direct expression of Lawrence’s proto-fascist propensities.

Previous Manson guitarists will envy the solo space allotted Sköld; a number of exceptional ax workouts perfectly reflect moods that range from mounting pride to roiling anguish to moaning abjection." It also noted that "Putting Holes In Happiness" stands out as "one of Manson's greatest songs." Jamie Fullerton of NME gave the album a rating of 7 out of 10, and said that "[t]his album sees him rising from the hordes of spider-black hoodies, becoming a musical force beyond the Download ticket-holders. Eat him, drink him, but make sure you listen to him too.

This little fat man, dressed in rags, still leaning on a cane and wearing a hat or head covering, it seemed like the height of abjection and is described as "a horrible animal with three legs". Sancha supported her step-granddaughter in the first year of her reign against other factions. However, the ineffectiveness of the Council of Regency forced the Pope, in his capacity as Overlord, to impose his direct rule by sending a Legate, Cardinal Aimery de Châtelus.Émile-G. Léonard: Histoire de Jeanne Ire, reine de Naples, comtesse de Provence (1343-1382) : La jeunesse de la reine Jeanne, t.

Hutchinson feels there is a perverse nature to Michael's actions: "see the difference between how he watches and pursues women to men". He also suggests that Michael Myers' hometown of Haddonfield is the cause of his behavior, likening his situation to that of Jack the Ripper, citing Myers as a "product of normal surburbia - all the repressed emotion of fake Norman Rockwell smiles". Hutchinson describes Michael as a "monster of abjection". When asked his opinion of Rob Zombie's expansion on Michael's family life, Hutchinson says that explaining why Michael does what he does "[reduces] the character".

Her sculptures use materials such as glass, paper, metal, fur and leather. Her works juxtapose seductive, soft elements, sometimes associated with strongly sexual overtones, with harder materials, often spikey or in some way appearing to constrain the softer parts, resulting in work which is both sensual and threatening. Her 1997 exhibition at the Whitechapel Gallery in particular made reference to organic forms (crustacea, fossils), animals, erotic and fetishistic imagery, turn of the century decorative traditions, architectural detailing and saintly relics.Pennina Barnett, "Materiality,Subjectivity & Abjection in the Work of Chohreh Feyzdjou, Nina Saunders and Cathy de Monchaux", n.paradoxa: international feminist art journal online, 7, July 1998, pp.

By bringing focus onto concepts such as abjection, psychotherapists may allow for the exploration of links between lived experience and cultural formations in the development of particular psychopathologies. Bruan Seu demonstrated the critical importance of bringing together Foucauldian ideas of self-surveillance and positioning in discourse with a psychodynamic theorization in order to grasp the full significance of psychological impactors, such as shame.cited in Dryden, Ussher and Perz, "Young women's construction of their post-cancer fertility" (2014), p. 1343. Concerning psychopathologies such as body dysmorphic disorder (BDD), the role of the otheractual, imagined or fantasizedis central, and ambivalence about the body, inflated by shame, is the key to this dynamic.

The abject also began to influence mainstream artists including Louise Bourgeois, Helen Chadwick, Gilbert and George, Robert Gober, Kiki Smith and Jake and Dinos Chapman who were all included in the 1993 Whitney show."Abject Art" Retrieved on 2010-11-09. Other artists working with abjection include New York photographers, Joel Peter Witkin, whose book Love and Redemption and Andres Serrano whose piece entitled Piss Christ caused a scandal in 1989. In 2015, Welsh poet RJ Arkhipov wrote a series of poems using his own blood as ink to protest the men who have sex with men blood donor controversy in the United Kingdom.

Abjection can be uncanny in that the observer can recognize something within the abject, possibly of what it was before it was 'cast out', yet be repulsed by what it is that caused it to be cast out to begin with. Kristeva lays special emphasis on the uncanny return of the past abject with relation to the 'uncanny stranger'.S. Beardsworth, Julia Kristeva (2012) pp. 189–92 Sadeq Rahimi has noted a common relationship between the uncanny and direct or metaphorical visual references, which he explains in terms of basic processes of ego development, specifically as developed by Lacan's theory of the mirror stage.

Locke's sonnet sequence is her most well-known work. It was published in 1560 alongside Locke's translations of four of John Calvin's sermons on Isaiah 38, in a volume titled Sermons of John Calvin upon the Songe that Ezechias made after he had bene sicke...Translated out of Frenche into Englishe.Michael R. G. Spiller, "A Literary 'First': The Sonnet Sequence of Anne Locke (1560)," Renaissance Studies: Journal of the Society for Renaissance Studies 11 (1997):42. Locke probably had access to Calvin's manuscripts, which enabled her to make a close translation of the sermons.Teresa Lanpher Nugent, “Anne Locke’s Poetics of Spiritual Abjection,” English Literary Renaissance 39 (2009):3–5.

Anatomical models inspired The Quickening of the Wax, staged by Carnesky on Halloween night in 2010 for the Chelsea Theatre's Sacred festival. The Time Out listing described the show: 'Marisa Carnesky, long fascinated with the body as a site of abjection and storytelling, draws on her penchant for the uncanny with a Halloween show unlike any other. Magic, horror and social history combine as anatomical models come to life in spectacular, ritualistic fashion'.'The Quickening of the Wax', Time Out, October 2010 The creative team comprised Anthony Bennett (wax work sculptor), Rasp Thorne (music), Helen Plewis (performer and choreographer), Marty Langthorne (lighting designer) and Jon Marshall (magic illusions).

Krymchak, a Turkic-speaking Crimean Jew (Crimean Khanate, Ottoman Empire) The first synagogue linked to Ottoman rule is "Tree of Life" () in Bursa, which passed to Ottoman authority in 1324. The synagogue is still in use, although the modern Jewish population of Bursa has shrunk to about 140 people.International Jewish Cemetery Project – Turkey The status of the Jews in the Ottoman Empire often hinged on the whims of the sultan. So, for example, while Murad III ordered that the attitude of all non-Muslims should be one of "humility and abjection" and that they should not "live near Mosques or tall buildings" or own slaves, others were more tolerant.

She explains this by focuses on how horror emphasizes boundaries of humanity and beyond. Within horror films this theory of a border and the breaking of rules and norms is important as it relates to the formation of the monstrous, which suggests that anything that navigates or exists across this "border" is abject. Kristeva's theory therefore can be applied to the monstrous feminine, particularly the themes of the mother-child relationship and the mother's womb, which both relate to the ‘archaic mother’. In her 1987 paper, "From Here to Modernity: Feminism and Postmodernism", Creed's approach to understanding the monstrous male figure also draws on Kristeva's notion of abjection.

Scholars and critics have debated the connections of "I Have Forgiven Jesus" to Morrissey's general œuvre. Macquarie University's Jean-Philippe Deranty traced back its themes of "painful sexual failure" that issues "a traumatic confusion about sexual preferences and sexual abilities" to The Smiths's song "I Want the One I Can't Have" from the 1985 album Meat Is Murder. Scholar Daniel Manco argued that "I Have Forgiven Jesus" is thematically related to Morrissey's 1990 song "November Spawned a Monster", both of which feature disabled people and dialogues with Jesus. Manco also commented that it echoes "November Spawned a Monster" in its discussion of "blameless youth, dysfunctional corporeality, social and sexual abjection, and divine culpability".

It is closely tied to the "feminine", and represents the undifferentiated state of the pre-Mirror Stage infant. Upon entering the Mirror Stage, the child learns to distinguish between self and other, and enters the realm of shared cultural meaning, known as the symbolic. In Desire in Language (1980), Kristeva describes the symbolic as the space in which the development of language allows the child to become a "speaking subject," and to develop a sense of identity separate from the mother. This process of separation is known as abjection, whereby the child must reject and move away from the mother in order to enter into the world of language, culture, meaning, and the social.

Nurses, for example, are confronted with the abject in a more concrete, physical fashion due to their proximity to the ill, wounded and dying. They are faced with the reality of death and suffering in a way not typically experienced by hospital administrators and leaders. Nurses must learn to separate themselves and their emotional states from the circumstances of death, dying and suffering they are surrounded by. Very strict rituals and power structures are used in hospitals, which suggests that the dynamics of abjection have a role to play in understanding not only how anxiety becomes the work of the health team and the organization, but also how it is enacted at the level of hospital policy.

Whitehouse specialised in what they call "extreme electronic music". They were known for their controversial lyrics and imagery, which portrayed sadistic sex, rape, misogyny, serial murder, eating disorders, child abuse, neo-nazi fetishism and other forms of violence and abjection. Whitehouse emerged as earlier industrial acts such as Throbbing Gristle and SPK were pulling back from noise and extreme sounds and embracing relatively more conventional musical genres. In opposition to this trend, Whitehouse wanted to take these earlier groups' sounds and fascination with extreme subject matter even further; as referenced on the sleeve of their first LP, the group wished to "cut pure human states" and produce "the most extreme music ever recorded".

A Meditation of a Penitent Sinner is one work in a long tradition of poetic meditation on the Psalms. Her sequence develops the penitential poetic mode that was also used by late medieval poets.Ruen-chuan Ma, “Counterpoints of Penitence: Reading Anne Locke’s “A Meditation of a Penitent Sinner” through a Late-Medieval Middle English Psalm Paraphrase,” ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 24 (2011): 33–41. While both Catholics and Protestants composed poetry in the penitential tradition, Protestant reformers were particularly drawn to Psalm 51 because its emphasis on faith over works favoured their reformist theology.Nugent, “Anne Lock’s Poetics of Spiritual Abjection,” 7.Spiller, “A Literary ‘First’,” 46.

Raven Eye connected the Lipan Apache oral narrative structure from the Lower Rio Grande valley and southern Texas to a literary aesthetic form that included pictorial writing and history of resistance. Her poetry is best known for stark, detailed examinations of gender violence, identity, non-recognition, genocide and spaces of abjection (walls, the camp, death march, exile). Her prose reflects the critical views of processes and on-going effects of fragmentation, historical erasure, and dispossession on Indigenous peoples, making crucial links between history and present forces (colonization, militarization) impacting Indigenous self-determination in regions bifurcated by settler nation borders where those who remained in traditional places were largely ignored by the state.

He moved to Paris to pursue his career, frequenting Henri Langlois' Cinémathèque Française and other ciné- clubs; there, he met François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol and other future members of the New Wave. Rivette began writing film criticism, and was hired by André Bazin for Cahiers du Cinéma in 1953. In his criticism, he expressed an admiration for American films – especially those of genre directors such as John Ford, Alfred Hitchcock and Nicholas Ray – and was deeply critical of mainstream French cinema. Rivette's articles, admired by his peers, were considered the magazine's best and most aggressive writings, particularly his 1961 article "On Abjection" and his influential series of interviews with film directors co-written with Truffaut.

Critical reception for the EP was generally positive. At Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the EP received an average score of 77, based on 11 reviews, indicating "generally favorable reviews". Gavin Miller from Drowned in Sound gave the EP a score of 8 out of 10, writing that "it's a little light on substance, but what we do get is a really fascinating insight into where Reznor is at with NIN at the moment". Kory Grow of Rolling Stone also gave the album a positive review, saying that it "contains all the aggression, abjection and self-loathing that solidified Reznor's position as alt-rock's Original Angster but with the measured restraint of a man his age".

599 sought to make the concept more social in order to analyze abjection as a social and lived process and to consider both those who abject and those who find themselves abjected, between representation of the powerful and the resistance of the oppressed. Tyler conducted an examination into the way that contemporary Britain had labelled particular groups of peoplemostly minority groupsas revolting figures, and how those individuals revolt against their abject identity, also known as marginalization, stigmatizing and/or social exclusion. Exploration has also been done into the way people look at others whose bodies may look different from the norm due to illness, injury or birth defect. Researchers such as Frances"Damaged or unusual bodies: Staring, or seeing and feeling" (2014), p. 198–200.

Taking The Leech Woman as her text, and the relationship of June and Paul in particular, Sobchack notes that "in a sexist as well as ageist technoculture, the visibly aging body of a woman has been and still is especially terrifying - not only to the woman who experiences self-revulsion and anger, invisibility and abandonment, but also to the men who find her presence so unbearable they must - quite literally - disavow and divorce her". Sobchack further points out the additional complexity of the "double standard" of the aging man and woman, naming it as a "standard that elicits a complex of engendered emotions from both the women and the men who bear it: fear, humiliation, abjection, shame, power, rage, and guilt".

Kristeva's understanding of the "abject" provides a helpful term to contrast to Lacan's objet petit a (or the "object of desire"). Whereas the objet petit a allows a subject to coordinate his or her desires, thus allowing the symbolic order of meaning and intersubjective community to persist, the abject "is radically excluded and," as Kristeva explains, "draws me toward the place where meaning collapses" (Powers 2). It is neither object nor subject; the abject is situated, rather, at a place before we entered into the symbolic order. (On the symbolic order, see, in particular, the Lacan module on psychosexual development.) As Kristeva puts it, "Abjection preserves what existed in the archaism of pre-objectal relationship, in the immemorial violence with which a body becomes separated from another body in order to be" (Powers 10).

In a 1991 interview with David Brittain in Creative Camera, Sherman said that "I didn't really analyze it at the time as far as knowing that I was commenting upon some feminist issue. The theories weren't there at all... But now I can look back on some of them, and I think some of them are a little blatantly obvious, too much like the original pin-up pictures of those times, so I have mixed feelings about them now as a whole series." In addition to questions of the gaze, Sherman's work is also given feminist analysis in the context of Abjection. Scholars like Hal Foster and Laura Mulvey interpret Sherman's use of the abject via the grotesque in 1980s projects like Vomit Pictures as de-fetishizing the female body.

The shifts in politics, welfare, and the move from government to governance that characterised the 1990s have been of considerable interest here. Studies that reflect on the politics of the shift from centralised government to decentralised governance, and of the political economy of agrarian change in the wake of the intensifying impacts of globalising neoliberal capitalism, the politics of gender emergent in urban governance, have been carried out. Also, historical work on the politics of welfare in pre- and post-independence Kerala, on marginalisation, exclusion, and abjection in development particularly with reference to dalit people and sexual minorities, and local histories on politics and development in micro- sites of extreme marginalisation and deprivation in Kerala have been published. These studies too constitute a significant part of the interdisciplinary research at CDS in the recent decades.

The feminie-maternal Eros informs also the father/son and mother/son relations. According to Ettinger, in parallel but also before expressions of abjection (Julia Kristeva) or rejection (Freud on Narcissism) of the other, primary compassion, awe and fascinance (which are unconscious psychic affective accesses to the other, and which join reattunement and differentiating-in-jointness by borderlinking) occur. The combination of fascinance and primary compassion does not enter the economy of social exchange, attraction and rejection; it has particular forms of Eros and of resistance that can inspire the political sphere and reach action and speech that is ethical-political without entering any political institutional organization. The infant's primary compassion is a proto-ethical psychological means that joins the aesthetical fascinance and creates a feel-knowing that functions at best within maternal (and also parental) compassionate hospitality.

Create two characters, the selfish Sakigi Yoshida and the passive Toukishi Murata, who embody the two extremes of the human being and, through them, vents trying to be as vulgar as possible. In his work human abjection and degradation have an aggressive and political matrix, an all-out attack launched at the height of the economic bubble, against the values of the Japanese world of work and against the notions of national and racial pride. Since the first works Nemoto becomes one of the most prolific authors of the underground art world, from his works for Garo, to the illustration of covers for music CDs, to contributions with strips and illustrations in Japanese magazines of pop music and pop culture. Together with the cultural critic Manabu Yuasa, he is the co-author of a fundamental study on South Korean street culture.

Barbara Creed's The Monstrous-Feminine: Film, Feminism, Psychoanalysis (1993) investigates the types of monsters that women are portrayed as in horror films, particularly examining archaic mothers, and mythological adaption's of characters. Creed analyses women as monstrous through their roles in horror movies playing witches, vampires, archaic mothers, possessed monsters and mythical creatures, such as Medusa. In her discussion of the many "faces of the monstrous- feminine", she draws on Kristeva's concept of abjection to describe how the patriarchal society separates the human from the non-human, and rejects the "partially formed subject". Creed first considers women as vampires in such films as Dracula (1992) and The Hunger (1983), wherein she discusses the image of the ‘archaic mother’ with the female vampire being ‘mother’ and her lover or victim as ‘child’ whom she promises eternal life to.

Fifteen years of Gollon's paintings and imagery, together with music that he has selected (including Calexico and Paolo Conte), combine with JABOD's design, rhythm and effects to create a film installation of 20 minutes length. Kaleidomorphism One was premiered at the East End Film Festival in 2008. In 2009, Chris Gollon was invited to become a Fellow and first Artist in Residence at the Institute of Advanced Study (Durham), Durham University, where he took part in the Being Human research project and worked with some of the world's leading thinkers to describe 'being human' in the 21st century, with subject areas such as 'Mind/Consciousness', 'Abjection/Bare Life', 'War', 'Migration' and 'Home'. He produced 16 paintings in 10 weeks on the "Being Human" theme, all of which are reproduced in the 52-page exhibition catalogue "BEING HUMAN new paintings by Chris Gollon", published by Durham University.

94-96 Karen Brooks states that Drift Street, Edward Berridge's The Lives of the Saints, and Andrew McGahan's Praise "...explor[e] the psychosocial and psychosexual limitations of young sub/urban characters in relation to the imaginary and socially constructed boundaries defining...self and other" and "opening up" new "limnal [boundary] spaces" where the concept of an abject human body can be explored. Brooks states that Berridge's short stories provide "...a variety of violent, disaffected and often abject young people", characters who "...blur and often overturn" the boundaries between suburban and urban space. Brooks states that the marginalized characters in The Lives of the Saints, Drift Street and Praise) are able to stay in "shit creek" (an undesirable setting or situation) and "diver[t]... flows" of these "creeks", thus claiming their rough settings' "limnality" (being in a border situation or transitional setting) and their own "abjection" (having "abject bodies" with health problems, disease, etc.) as "sites of symbolic empowerment and agency".

The River Ophelia caught the public's attention due to its striking cover of a nude woman in black and white photography and the marketing of the book was widely discussed in literary circles. All of the major Australian newspapers like The Australian, The Sydney Morning Herald, and The Age featured prominent reviews and Ettler herself soon became 'news' and she appeared on television and was even interviewed by popular magazines like Who Weekly. Over 50,000 copies of the novel were sold in a market where 5,000 is considered a best-seller. The novel has also attracted significant scholarly attention with the novel now recognised as a significant "grunge" text (although that term and that genre are contested) and a notable example of a feminist text featuring erotic (some would say 'pornographic') content and this has been widely debated in literary circles with particular reference to the concept of abject bodies and abjection.

By thinking of subjectivity as fluid, she navigates between two extremes that plague contemporary attempts to theorize difference: at the one pole, the position that I can understand anyone by just taking up her perspective, which makes communication unencumbered; and at the other, the position that I can understand no one because of radical alterity that prevents me from taking up her perspective, which makes communication impossible. Oliver argues that the first assumes that we are absolutely identical, which erases our differences, and the second assumes that we are absolutely different, which erases our communion. Both presume a certain solidity of the subject; both work with an oppositional notion of identity and difference; and both seem to presume that communication requires recognition. Oliver begins to explore the usefulness and limitations of the notion of recognition, and its flip side, abjection, in developing a theory of identity that opens the subject to otherness.

He eventually led his Federalist army to Valladolid where they were able to capture the city in 1840. After which he wrote a declaration that (Translated to English, to see a picture of original document click here) > FELLOW. The ruling protects the cause of freedom: the brave troops under my > command have already taken possession of this city, Valladolid has emerged > from slavery, abjection and disgrace. > >> I have the pleasure to introduce myself among this worthy people, and I am satisfied that there will be known, in me, the character of a proud victor, but the friendliness of a peaceful citizen: to win the laurels of that victory brings, I preferred the olive of peace, with this I invite you to accompany the minutes of the delivery of this heroic people, and do not believe the horrible blow of the gun is necessary for you out of your slumber, because I am convinced this fraternal hint will be enough to revive in your breasts, the patriotic feelings that motivate you for the just cause I maintain.

Brooks states that the marginalized characters in The Lives of the Saints, Drift Street and Praise) are able to stay in "shit creek" (an undesirable setting or situation) and "diver[t]... flows" of these "creeks", thus claiming their rough settings' "liminality" (being in a border situation or transitional setting) and their own "abjection" (having "abject bodies" with health problems, disease, etc.) as "sites of symbolic empowerment and agency". Brooks states that the story "Caravan Park" in Berridge's short story collection is an example of a story with a "liminal" setting, as it is set in a mobile home park; since mobile homes can be relocated, she states that setting a story in a mobile home "...has the potential to disrupt a range of geo-physical and psycho-social boundaries". Brooks states that in Berridge's story "Bored Teenagers", the adolescents using a community drop-in centre decide to destroy its equipment and defile the space by urinating in it, thus "altering the dynamics of the place and the way" their bodies are perceived, with their destructive activities being deemed by Brooks to indicate the community centre's "loss of authority" over the teens.