The maternal figure as abject: “Kristeva argues that all individuals experience abjection at the time of their earliest attempts to b reak away from the mother…we can see abjection at work in the horror text where the child struggles to break away from the mother…in a context in which the father is invariably absent” (Creed 49). Because, while releasing a hold, it does not radically cut off the subject from what threatens it - on the contrary, abjection acknowledges it to be in perpetual danger” (Kristeva, 9-10)Ĭreed: “Firstly, the horror film abounds in images of abjection, foremost of which is the corps e, whole and mutilated, followed by an array of bodily wastes… Second…the concept of a border is central to the construction of the monstrous in the horror film that which crosses or threatens to cross the ‘border’ is abject… the function of the monstrous to bring about an encounter between the symbolic order and that which threatens its stability.” (48-9) “We may call it a borer abjection is above all ambiguity. Abjection as corpse… why are we so damn fascinated with zombies? By the way, join the History and Humanities Association this semester to find out!
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |