Article

Powers of Horror: An Essay on Abjection

Authors:
To read the full-text of this research, you can request a copy directly from the author.

No full-text available

Request Full-text Paper PDF

To read the full-text of this research,
you can request a copy directly from the author.

... The gruesome and abject depiction of a woman is represented in the character whose name is Thérèse Desqueyroux. Abject is a term used by Kristeva which means something that does not respect boundaries, positions, and rules that interfere with identity, system, and order (Creed, 2007: 51;Kristeva, 2010). ...
... According to Kristeva, the harmful object must be excluded from the subject, pushed far to the imaginary border line that separates the self from those that threaten it (Creed, 2007: 53;Kristeva, 2010). This exclusion is necessary to make the subjects in accordance with their respective roles. ...
... In Kristeva's view, mother's body is constructed as a monster or an object because it disturbs the subject (Kristeva, 2010). The mother does not let go of the child who wants to break free to become a separate subject. ...
Article
Full-text available
Issues of domestication, minority, and discrimination have frequently put women in inferior position in society. When women seek equality, they are often framed as embracing monstrous attitudes. This study focuses on François Mauriac’s novel titled Thérèse Desqueyroux (1927) with the intention of exploring the meanings and the significations in its construction of women as monsters. It has been observed that women are depicted as monsters because their struggle for freedom is seen as a challenge to the patriarchal system. The aims of this study are to find out and to describe the influential aspects in the construction of women as monsters and how such construction creates meanings. The study relies on content analysis method and follows three steps of analysis: collecting data relevant to monstrosity, classifying data based on the themes and problems related to the topic, and analyzing the data using Barbara Creed’s theory of the monstrous feminine (2007). The study results in the finding that the construction of women as monsters is strongly correlated with the deep institutionalization of patriarchy in French culture. Penempatan perempuan pada posisi inferior dalam banyak narasi disebabkan oleh faktor-faktor domestifikasi, minoritas, dan diskriminasi. Ketika perempuan memperjuangkan kesetaraan, mereka dianggap membangkang dan disimbolkan sebagai monster. Konstruksi monster terhadap perempuan ini terlihat pada novel François Mauriac berjudul Thérèse Desqueyroux (1927). Tulisan ini mencoba memahami makna dan pemaknaan konstruksi perempuan sebagai monster dalam novel tersebut. Studi ini menemukan bahwa perempuan digambarkan sebagai monster karena perjuangan mereka untuk mencapai kebebasan dianggap menentang struktur patriarki. Tujuan dari studi ini adalah menemukan dan mendeskripsikan aspek-aspek yang berkaitan dengan proses pemonsteran perempuan dan bagaimana proses tersebut dimaknai. Penelitian ini menggunakan metode analisis isi cerita dan dilakukan dalam beberapa tahap. Tahap pertama adalah pengambilan data yang relevan dengan pemonsteran. Tahap kedua adalah pengklasifikasian data sesuai dengan tema dan permasalahan tentang pemonsteran perempuan. Tahap terakhir adalah analisis data temuan dengan teori Barbara Creed (2007) tentang the monstrous feminine. Studi ini menyimpulkan bahwa konstruksi perempuan sebagai monster berhubungan erat dengan kultur patriarki yang sudah terinstitusionalisasi di dalam budaya Prancis pada masa ketika novel tersebut ditulis.
... The above account resonates with Kristeva's (1982) association of abjection with jouissance: 'one does not know it, one does not desire it, one joys it in'. Indeed, Kristeva motes that we are continually and repeatedly drawn towards the abject in the same way we are drawn to trauma according to Freud's understanding of repetition compulsion. ...
... Penitensya is arguably also a form of sequestered dark spectacle that offers an increasingly curious audience a chance to interact with Filipino national public culture. In terms of abjection, the findings lend themselves to Kristeva's (1982) concept of jouissance. For Kristeva, 'victims' of the abject are fascinated, rather than submissive and willing, and they are provoked, and forced to contemplate that which is uncomfortable to face. ...
Article
Full-text available
This paper applies indigenous research methods to understand the motives of visitors attending Penitensya (a Lenten Filipino ritual involving violent ritualistic performances) which we introduce as a novel form of religious-dark tourism. The paper also examines the tourism product potential of Penitensya as a controversial, yet potentially valuable feature of Filipino public culture. The motives of visitors to the Penitensya ritual in the Philippines during the 2019 schedule of events are examined to understand the touristic appeal of this unique form of religious-dark pilgrimage which involves overt and abject rituals of mortification and self-harm. Analysis suggests that the motives for attending Penitensya resonate with the motives of visitors to dark tourism attractions, and these include the allure of a novel cultural experience, knowledge-seeking and rubbernecking. The findings suggest that Penitensya might have unrealised potential as a legitimate form of intangible Filipino cultural heritage, but in order to authenticate the event as part of the nation’s cultural tourism product mix it must be carefully curated and marketed, and embraced by local authorities and the wider community.
... A exposição de corpos volumosos, com dobras, estrias, pelos e celulite se torna alvo do discurso de ódio pela repulsa e pelo nojo alheio daqueles que as assistem, num processo de abjeção. O abjeto, para Julia Kristeva (1982), é o oposto do sujeito, é "algo", uma "coisa" que não é reconhecida como sujeito; é um peso, uma falta de sentido, é uma repulsa por algo ou alguém comparável à repulsa por comida. Kristeva (1982) Logo, ao chamar Luiza e Alexandra de "baleia", "orca", "elefante" ou "leitoa", Isso pode ser identificado também nos comentários dos vídeos de Luiza, cujas mensagens de ódio são direcionadas a ela por ser feminista, utilizando palavras de baixo calão, como no exemplo abaixo do vídeo "A verdade sobre o tour pelo meu corpo": "Sua feminista de merda e gorda feia do caralho". ...
... O abjeto, para Julia Kristeva (1982), é o oposto do sujeito, é "algo", uma "coisa" que não é reconhecida como sujeito; é um peso, uma falta de sentido, é uma repulsa por algo ou alguém comparável à repulsa por comida. Kristeva (1982) Logo, ao chamar Luiza e Alexandra de "baleia", "orca", "elefante" ou "leitoa", Isso pode ser identificado também nos comentários dos vídeos de Luiza, cujas mensagens de ódio são direcionadas a ela por ser feminista, utilizando palavras de baixo calão, como no exemplo abaixo do vídeo "A verdade sobre o tour pelo meu corpo": "Sua feminista de merda e gorda feia do caralho". Todavia, outros comentários chamaram mais a atenção durante as análises: neste mesmo vídeo citado, bem como em "Meus defeitos e imperfeições", há grande utilização do termo "feminazi": "Falou "sociedade patriarcal" já sei que é feminazi"; "Feminazi"; "Emagrecer é bom sim, emagrecer é bonito sim, é elogio, é saudável, o movimento das feminazis que não entende isso". ...
Article
Full-text available
_ABSTRAC_This paper has as an objective analyzing the hate speeches in commentaries on the YouTube channel videos “Tá Querida” and“Alexandrismos”. Both are led by fat women who deal with the bodyweight self-acceptance movement named body positive. We also seek on identifying which fat women representations are produced from these commentaries. For such, the Cultural Studies on Education theoretical field has been considered, with the concepts of Cultural Pedagogies (SILVA, 2010; CAMOZZATO, 2012; ANDRADE, 2016) and from Representation (HALL, 2016), pointing as methodologies the Virtual Ethnography (HINE, 2004) and Cultural Analysis (MORAES, 2016). It had been possible to identify explicit hate speeches from sexists and fatphobic expressions directed to the YouTubers, as well as the gender violence and antifeminist speeches. The prevailing representation has been of the disgusting and animalistic fat woman, being part of the prevailing hate speeches. _RESUMO_Este artigo teve como objetivo analisar os discursos de ódio em comentários nos vídeos dos canais de YouTube “Tá Querida” e “Alexandrismos”. Ambos são protagonizados por mulheres gordas que tratam sobre o movimento de autoaceitação corporal intitulado body positive. Buscamos também identificar quais as representações de mulher gorda que são produzidas a partir de tais comentários. Para tanto, foi considerado o campo teórico dos Estudos Culturais em Educação, com os conceitos de Pedagogias Culturais (SILVA, 2010; CAMOZZATO, 2012; ANDRADE, 2016) e de Representação (HALL, 2016), tendo como metodologias a Etnografia Virtual (HINE, 2004) e a Análise Cultural (MORAES, 2016). Foi possível identificar discurso de ódio explícito a partir de expressões machistas e gordofóbicasdirecionadas às YouTubers, bem como violência de gênero e discursos antifeministas. Já a representação predominante foi da gorda animalesca e nojenta, fazendo parte dos discursos de ódio predominantes
... What does not respect borders, positions, rules. The inbetween, the ambiguous, the composite' (Kristeva, 1982(Kristeva, [1980, 4). One of the largest patterns is a sense of grinding repetition of the subject's estrangement that is admittedly congenial to the Kayserean grotesque world. ...
... What does not respect borders, positions, rules. The inbetween, the ambiguous, the composite' (Kristeva, 1982(Kristeva, [1980, 4). One of the largest patterns is a sense of grinding repetition of the subject's estrangement that is admittedly congenial to the Kayserean grotesque world. ...
Article
Full-text available
The article investigates numerous manifestations of the 'grotesque' in Krishna Goswami's photostory "At Home in the World? Mediating Borders" (2020), which portrays the emotional upheavals of her stranded subject (in the USA) during the first global coronavirus lockdown. For the purpose of the article, we stay close to Wolfgang Kayser's (1963 [1957]) ominous understanding of the grotesque as the presentation of a world that is dark, in which nothing seems to be in order. Based on Mikhail Bakhtin's (1984 [1965]) assumption of the 'grotesque body', we examine how this can be a fitting theoretical framework to analyse a quarantined body which deviates from the normal standards of order and beauty. We adopt a mixed-method approach that comprises a critical interplay between the theories of the grotesque and Goswami's own reflections on internet photographic practice, followed by a critical visual analysis, layered with selected viewers' comments and life stories of the subject. While reading a range of photographs in the light of the chosen theorists, we demonstrate how the grotesque body is surfaced visually through the use of disproportionate facial features, fragmented body parts and exaggerated physical traits, evoking emotional and visceral conflicts in the viewers. We contend that the grotesque is not about bodily excesses or physical ugliness, but is a compelling feminist category for articulating the challenges, rigidities and contestations that a woman of 'colour' has to face in her cultural tapestry. 1. Coronavirus pandemic and the grotesque body: Context and rationale Worldwide, the coronavirus has not only infected millions of human bodies, but the hushed world with its emptied workplaces, streets and tourist destinations has disrupted its order. The use of a face mask, one of the most effective public health strategies to curb its transmission, has not only transformed our social practices but hazed our identity. With the outbreak of the pandemic, a wide range of photographic works have been created to reflect its aftereffects. 1 In the time of global lockdown, the isolated body has often become an object of consumption for 1 See https://www.nationalgeographic.com/history/2020/04/pictures-capture-hushed-world/ and
... A concept primarily discussed by Kristeva (1982), the abject has only one quality of the object -that of being opposed to I (p. 1). ...
... Arab, as the abject one for the writers of Sour Dictionary, is the one who "disturbs identity, system, order" and the one who "does not respect borders, positions, rules" with its threat of undermining the integrity of the subject (p.30). With the definition of Kristeva (1982): ...
Article
Full-text available
This article examines online violence disguised as humor on Turkish digital media platforms. Online conversations from Sour Dictionary, a pioneer dictionary-platform, reveal how class, politics and gender inequalities intersect to reproduce power relations in digital media against non-paid domestic workers (housewives) being visible in Facebook. Drawing from the theoretical framework of intersectionality, the study shows that women are exposed to violence not just through the category of gender, while at the same time, the criticism and the violence interchange dynamically through the instrument of humor.
... The cemetery also fixes the decomposing body in place. Kristeva's characterisation of the dead human body as "abject" (Kristeva, 1982) is belied by substantial investment in the careful ordering of bodies in cemetery space where families can guarantee protection for their dead. Ruin's chapter gives deeper consideration to the act of burial, and defines the debt of solicitude owed to dead family members. ...
Article
This paper reviews cemetery publications over the last twenty years and considers current trends and new directions. In these two decades, cemetery research has included contributions from the humanities, social sciences and sciences and its inter-national reach has expanded substantially, echoing the expansion in geographic scope of death studies. The study of cemeteries has also benefited from a spatial turn within a number of disciplines: within death studies, conceptions of “deathscapes” or “necroscapes” has expanded the range of questions asked of all locations where death is encountered. The paper is ordered using eight core questions that can be asked of any kind of space used for the interment of the dead either as a full body or as cremated remains: how do we define this space?; how has this space come to be?; what does this space mean?; what does this space look like?; how is it used?; what do we express through this space?; how is the space managed? and how is this space valued? The review indicates that the field of cemetery studies is intrinsically interdisciplinary, where nuance of meaning and degree of significance is best captured in the interstices between and interplay of separate discipline traditions, themes and methods.
... Dominant urban discourses have historically conflated filth or disease in marginalised areas with the moral defects of their inhabitants, thereby legitimising the existing social order (Campkin, 2007;Nightingale, 2012;Otter, 2004). The abjecting power of disgust elicited by waste as 'matter out of place' (Douglas, 2002;Kristeva, 1982), or of sensations associated with contamination (Tan, 2013), can serve to draw intra-urban boundaries and constitute those living in unsanitary conditions as the city's constitutive Other -either as deserving of further exclusion or as requiring forceful state intervention (Cresswell, 1996;Gray and Mooney, 2011;Sibley, 2002;Stallybrass and White, 1986). Given that infrastructural (dis)connections can denote much more than mere technical access, that they frequently serve to delineate the boundary of urban belonging, modernity, citizenship and even humanity, there is a significant potential for engaging embodied, symbolic and affective approaches in the study of infrastructures as socio-technical systems. ...
Article
Full-text available
In this introduction to the Special Issue ‘Infrastructural Stigma and Urban Vulnerability’, we outline the need to join up debates on infrastructural exclusion on the one hand and urban stigma on the other. We argue that doing so will allow us to develop a better understanding of the co-constitutive relationship between the material and the symbolic structures of the city shaping urban exclusion and vulnerability. Positing that stigma is not merely a symbolic force but has significant material effects, we show how urban dwellers often experience it in deeply embodied ways, including through impacts on their physical health. Furthermore, stigma is not only imposed on the built environment through discourse, it also emanates from the materiality of the city; this agentic role of the city is often disregarded in sociologically-informed approaches to urban stigma. When infrastructures become sites of contestation about urban inclusion, stigma can be utilised by stigmatised residents to demand connection to public networks, and the wider symbolic inclusion this entails. Through examining the issue of infrastructural stigma in cities and urban territories across the Global North and Global South, as well as the places in between, the nine articles in this Special Issue pay attention to the global relationalities of infrastructural stigma. Ultimately, our focus on the infrastructural origins of stigma draws attention to the structural causes of urban inequality – a reality which is often occluded by both stigma itself and by prevalent academic approaches to understanding it.
... The movement draws inspiration from other positivity movements, such as sex and body positivity (Doughty 2018) which seek to break down normative boundaries that entangle embodiment and morality. Death positivity does the same, with the expressed mission to dismantle the idea of the dead body as an inherently sullied object, the abject reminder of the borders that are drawn between the human as subject and object (Kristeva 1982). ...
Article
Full-text available
This is part 3 of 6 of the dossier What do we talk about when we talk about queer death?, edited by M. Petricola. The contributions collected in this article sit at the crossroads between thanatology, critical animal studies, and the posthumanities and tackle questions such as: how can queer death studies deconstruct our perception of non-human deaths? How can we rethink hu- man death from a non-anthropocentric perspective? And how can queer death studies approach the COVID-19 pandemic? The present article includes the following contributions: – Beccaro C. and Tuckett M., The life cycle of the agaonidae wasp: death, queerness, and the shattering of the human; – Langhi R., Corpses are remains: queering human/animal boundaries across death; – Véliz S., Tilting points of reference: how nonhuman death narratives unsettle research; – Varino S., (Un)doing viral time: queer temporalities of living & dying in pandemic times; – Pevere M., Recalcitrant by nature: queering death through biological art practice Keywords:
... A ruína é de onde se erigem variações do discurso de Salomão, de Sulamita, da poesia de Safo. Quando Cancela evoca Céline ou uma linhagem literária indagadora, não evoca a literatura toda (Kristeva (1982) discordaria, talvez eu tenda a discordar-me), mas evoca um estado de espírito que lhe é subserviente e que a mantém, uma esfera arcaica, um qualquer indizível que se mostra mas que mesmo escrevendo nunca se diz. Pode ser desespero, pode ser ceticismo, cinismo, niilismo. ...
Article
Full-text available
Resumo: Este texto lê as narrativas de H. G. Cancela como um ritual antropofágico de apropriação e interdiscurso, e a escrita enquanto eterno rito de sedimentação e recomeço, paródia transgressiva, lugar da dúvida e do possível. Numa tessitura alegórica, o discurso desenha-se no âmbito da matéria ela mesma da palavra, da relação da mão que escreve consigo, com as outras, na ambivalência da literatura maiusculizada. Pervertendo-a e dominando-lhe o corpo sacro, o autor confronta-a no seu domínio. A escrita como parafilia macula e subverte: quem muito profana, sagra. Palavras-chave: antropofagia; palavra; profano; H. G. Cancela.Abstract: This text explores the discourse of H. G. Cancela as an anthropophagic writing ritual upon the notion of apropriation and interdiscourse. Writing seems to follow the notion of possible as a place for transgressive parody. Literature is never just a word, but a confrontation in its own body. Profanation of a so-called sacred body, writing may be a parafilic subversion intended to break literature’s body down into pieces. Keywords: anthropophagy; word; profane; H. G. Cancela.
... They have been living in dire situation -abnormal lifebeing normal for them. These people from abject spaces, as Julia Kristeva (1982) would call them, survive on meagre daily wages, face police violence and receive apathy of general society on a daily basis; possibly normality is just an illusion for them. ...
Article
Full-text available
COVID-19, HUMAN RIGHTS, HINDUTVA, HINDU NATIONALISM, INDIA,
... 29 Worms (robaki) in Polish is a non-definitive word for all sorts of worm-like beings, ranging from earthworms to grubs, maggots, or tapeworms, including sometimes also -especially unwanted -insects like cockroaches, moths, or bacteria, viruses. 30 Woroszylski, 'Białe robaki', 318-19. ...
Article
This article analyses the appearance of insects in Polish literature of the mid-socialist period. It will elaborate a post-humanist perspective on the peaking presence of flies, wasps, bugs or worms in literary texts both as a motif and as an aesthetic strategy. The article investigates the way the deployment of insects in and through the text modulates the view of and the perspective on their human fellows, and how these modulations can be traced to the social reality of the socialist 1960s and 1970s.
... Borsvoeding en die bors word in die literatuur (sien bv. Kristeva 1982) nie altyd as positief (voeding/liefde) of selfs as neutraal aanvaar nie, maar is, volgens Kristeva, deel van die sogenaamde abjekte, die afstootlike: ...
Article
Full-text available
In Antjie Krog se bundel mede-wete verskyn 'n aantal gedigte waarin die ek-spreker se soeke na 'n nuwe soort spiritualiteit verwoord word en waarin die implisiete versugting na die eenheid van alle dinge voorkom. Die doel van hierdie artikel is om 'n teoretiese konsep aan die hand te doen waarvolgens die spirituele aspekte in hierdie bundel bespreek kan word. Teorieë oor outobiografie as spirituele praktyk, veral in die digter se laatwerk, sowel as postsekularisme en ekopsigologie sal vir hierdie doel ingespan word. Daar sal hoofsaaklik eksemplaries te werk gegaan word deurdat enkele kerngedigte in die bundel ontleed word, te wete "moniaal", " 'n eland staan by 'n kuil", "ongelowig is nie die regte woord nie" en "kerssonnet". Daar word aangetoon op welke wyse Krog kategorieë of gehele wat in moderne tye hulle relevansie verloor het, poëties nuut verwoord deur te fokus op die verbeelding van 'n groter geheel waarin plante, diere en mense interverbonde is en interafhanklik van mekaar bestaan. Sodoende word die grense van die paradigma van egosentrisme waarin moderne mense verval het, opgehef en bestaande religieuse grense word deurbreek deurdat holisme op kreatiewe wyse as nuwe werklikheid daargestel word.
... El ser humano vive una experiencia semiótica de unidad y de fusión con el cuerpo de la madre, que percibe como indiferenciado del suyo. Para Kristeva (1982), esta fusión toma lugar en la chora semiótica (en griego 'útero', un locus de nutrición, según Platón), una articulación esencialmente hetereogénea, de ritmos vocálicos y cinéticos, sin sentidos racionales. A diferencia de lo «Real» lacaniano, las pulsaciones de la chora semiótica, anteriores a la ley del padre y a los procesos de representación lingüísticos, pueden reaparecer e irrumpir en lo simbólico. ...
Book
Full-text available
Estudio completo de la obra de Isabel Coixet. El volumen se organiza en tres diferentes partes: La primera parte, Gran angular: Travelling sobre la producción de Isabel Coixet reúne trabajos que estudian unas temáticas generales a lo largo de toda su obra: los lugares, las miradas, las texturas, los silencios y los sonidos, que resumen su diálogo con la teoría fílmica feminista. La segunda, Teleobjetivo: Primeros planos de los largometrajes de ficción, se compone de capítulos específicos centrados en sus películas de ficción, desde Demasiado viejo para morir joven (1989) hasta Learning to Drive (2014). La tercera parte, Zoom: Los documentales de Isabel Coixet , analiza su trabajo audiovisual más explícitamente social, dirigido a mostrar aspectos trágicos de la realidad actual, como la violencia de género, los estragos al medioambiente, la tortura y los crímenes de guerra o la corrupción del sistema legal. Por último, la cuarta parte, Las gafas: Isabel Coixet persona , pretende ofrecer una mirada sobre la cineasta más allá de su obra fílmica, completando así su retrato.
... Die Beiträge werfen ein Licht auf verschiedene Spannungslinien einer theoretischen Einordnung des Abjekten, auf empirische Anknüpfungspunkte und abjekte Phänomene und loten die politische Dimension (Fremdenhass, Faschismus, Pervertierungen des Kapitalismus) der Abjektion aus. Mit Bezug auf Kristeva (1982), Bataille (1999/1930) oder Lacan (1973, 1990 zeigen sie unterschiedliche kategoriale Bestimmungen des Abjekts und verschiedene Lesarten der Theorie des Abjekten auf. Sie geben einen Einblick, in welchem theoretischen Instrumentarium Abjekt und Abjektion in der jeweiligen Disziplin ihr Zuhause finden, welche theoretischen Anschlüsse sich finden lassen und wie sich andere Begriffe und Konzepte zum Abjekt ins Verhältnis setzen lassen -wie etwa der Ekel (Menninghaus 2003), existenzielle Angst und Ungewissheit, die Psychoanalyse Freuds ( /1917( , 1919( , 1925( ) und Lacans (1973( , 1990, die Kultur-und Wissenssoziologie (Giesen 2010;Berger und Luckmann 1969) oder die Gender Studies (Bovenschen 1997;Cixous 2013). ...
... Mesmo o silêncio das instituições em relação a essas problemáticas, invizibiliza e violenta outras formas possíveis de ser e estar no mundo, pois "os mecanismos de subjetivação dos sujeitos que as instituições escolares adotam, além de não incluir a diversidade presente na sociedade acaba por excluí-la" (Pacheco & Filipak, 2018, p. 157) Esses "enquadramentos de poder" (Butler, 2015), que se materializam nos currículos, práticas pedagógicas, organização dos espaços escolares, marcam os corpos que os circundam, com características consideradas adequadas ao sistema sexo/gênero/genitália. Aos corpos dissidentes, ou seja, que a esse sistema não corresponde (menino afeminado, menina masculinizada, estudante transexual/transgênero e os(as) alunos homossexuais), são transformados em corpos precários e abjetos (Kristeva, 1982) que devem ser violentados e/ou eliminados. ...
Book
Full-text available
Os textos apresentados neste e-book ilustram muitas das ideias partilhadas e debatidas no III Seminário Internacional CAFTe, Currículo, Avaliação, Formação e Tecnologias educativas, realizado nos dias 7, 8 e 9 de outubro de 2021, na modalidade online, da Faculdade de Psicologia e de Ciências da Educação da Universidade do Porto (FPCEUP). O Seminário foi organizado pela comunidade prática de investigação CAFTe, do Centro de Investigação e Intervenção Educativas (CIIE) da FPCEUP. Este grupo – formado por investigadores de Portugal, Brasil, Angola e de Moçambique – elege como objeto de estudo a educação formal, com especial foco nas políticas de educação, na formação, na avaliação, nas práticas curriculares de diferentes níveis de ensino e nas tecnologias educativas nelas mobilizadas. Reconhecendo-se a obrigação ética de divulgar o conhecimento produzido no âmbito dos projetos em curso, com este III Seminário, tal como com aconteceu na segunda edição, pretendeu: o partilhar o conhecimento produzido sobre educação, currículo, avaliação, formação e tecnologias educativas, na educação básica, secundária e superior; o proporcionar o encontro de elementos da comunidade académica educativa com estudos e intervenções nestas temáticas; o ampliar o debate científico a outros públicos a quem interessem estas questões do campo educacional. Orientado por estes objetivos, o III Seminário organizou-se em torno de quatro eixos: EIXO 1: POLÍTICAS E PRÁTICAS DA EDUCAÇÃO E DO CURRÍCULO; EIXO 2: AVALIAÇÃO E QUALIDADE EDUCATIVA; EIXO 3: POLÍTICAS E PRÁTICAS DE FORMAÇÃO DE PROFESSORES; EIXO 4: EDUCAÇÃO E TECNOLOGIAS DIGITAIS. Participaram no III Seminário, para além dos elementos do CAFTe, outros investigadores que estudam temáticas próximas das que têm sido objeto de estudo desta comunidade prática de investigação. Na sua concretização, durante os três dias, houve lugar para: - Quatro mesas redondas, que integraram investigadoras/es do CAFTe, membros integrados do CIIE, e investigadores desta comunidade que realizam os seus estudos em Portugal, no Brasil, em Angola e em Moçambique. Estas mesas redondas tiveram uma forte relação com os quatro focos de investigação do CAFTe: Autonomia e flexibilidade curricular – entre políticas e práticas”; Avaliação da aprendizagem – entre políticas e práticas”; A formação inicial de professores”; “Educação e tecnologias digitais”. - Apresentação de trabalhos científicos, nas várias sessões de comunicações livres organizadas em torno dos quatro eixos temáticos do III Seminário. Para cada um destes eixos foram convidados comentadores que fizeram um breve comentário em cada uma das sessões e que foi partilhado a todos os conferencistas na mesa redonda final do Seminário. - Mesa redonda de Comentadores das sessões de comunicações livres, que devolveu a todos os participantes no III Seminário o que esteve em destaque nas distintas sessões de comunicações livres. Na intenção de construir e partilhar a memória do que esteve em foco neste III Seminário do CAFTe, assim como de proporcionar a todos os que nos leem o estado do conhecimento que tem sido produzido, este e-book integra os seguintes textos, organizados por eixo temático (do eixo 1 ao eixo 4): Textos relativos a comunicações que foram apresentadas durante o Seminário; Textos relativos aos trabalhos apresentados nas Mesas Redondas; Textos relativos aos posters apresentadas durante o Seminário; É desejo da equipa CAFTe e da Comissão Organizadora que este e-book possa contribuir para o conhecimento alargado sobre práticas, políticas e conceitos, nas áreas do Currículo, Avaliação, Formação e Tecnologias educativas, e que, por essa via, possa também assumir-se como um contributo importante para o desenvolvimento profissional de docentes e investigadores interessados nestas áreas temáticas. A Comissão Organizadora do III Seminário Internacional do CAFTe, - Carlinda Leite e Preciosa Fernandes (coordenadoras do CAFTe) - Angélica Monteiro - Carla Figueiredo - Paulo Marinho - Luís Grosso Correia - Júlia Soares
Chapter
On the 17 June 1816, the Medusa, a forty-four-gun frigate, cleared the Straits of Antioch—accompanied by the Echo (a corvette), La Lois (a flute) and the Argus (a brig)—and set sail for the French colony of Senegal. She was captained by the commander of the expedition, Hugues Douroy de Chaumareys. Only twelve leagues from the west coast of Africa, she struck a sandbank. While the officers and aristocrats took to the boats, 141 men were consigned to a hastily constructed raft. Chaumareys promised that the boats would tow the raft safely to shore, but it was cut loose, and the men spent thirteen days at sea—in rapidly deteriorating conditions. Only fifteen eventually survived, starved and abject. Their condition provides an opportunity to consider the relation between abjection, hallucination, and expression.
Conference Paper
Full-text available
The Book of OIAC X Proceedings
Chapter
Although Ophelia’s death has been variously interrogated, especially in terms of its floral attributes, scholars have paid relatively scant attention to its liquid process. My chapter argues that Ophelia’s drowning performs a burial rite that counters her final interment in earth. Gertrude’s description of Ophelia’s dying radicalizes the convention of the locus amoenus, defines death as dissolution, and privileges water as permitting a terra-aqueous embrace that returns a creature to its origins. Her description mystifies death even in its final image of mud. Whereas Hamlet insists in the next scene that we end as dust and inchoate scatter, Gertrude suggests that Ophelia’s body layers with history the mud in which it is embedded. With these details, Shakespeare figures an ecology of the female body whose interaction with elemental nature, even in death, is permeable and deliquescent.
Article
Re-evaluating dominant cultural narratives around dying and death is central to new critiques of individualism and human exceptionalism. As conceptual tools for theorizing the end of the individual proliferate, the affective dimensions of this project are often overlooked, especially as they pertain to individual subjects. In contrast, a significant number of iconic queer and feminist thinkers have suffered breast cancer and written memoirs representing the subjective experience of confronting mortality. This article identifies the affective orientations towards one’s own mortality as missing from queer and feminist thinking on embodiment in the Anthropocene. As a remedy, the article reads several iconic feminist breast cancer memoirs – Sontag, Lorde, Sedgwick, Jain and Boyer – for their complex representations of affect, in particular fear, in relation to dying and death. Using the affect theory of Silvan Tomkins, this analysis contributes to critiques of cancer culture in medical humanities and of mortality and embodiment in feminist environmental humanities.
Article
Full-text available
Article
In “Lusus Naturae,” Margaret Atwood shows her predilection for the machinations of Gothic fiction. She resorts to gothic conventions to express female experience and explore the psychological but also the physical victimisation of the woman in a patriarchal system. Atwood employs the female monster metaphor to depict the passage from adolescence to womanhood through a girl who undergoes a metamorphosis into a “vampire” as a result of a disease, porphyria. The vampire as a liminal gothic figure, disrupts the boundaries between reality and fantasy/supernatural, human and inhuman/animal, life and death, good and evil, femme fatale and virgin maiden. By means of the metaphor of the vampire woman, Atwood unveils and contests the construction of a patriarchal gender ideology, which has appalling familial and social implications.
Article
Full-text available
El objetivo de este texto es analizar el monstruo femenino en el film A Girl Walks Home Alone at Night (Una chica vuelve a casa sola de noche, 2014), de Ana Lily Amirpour, exponiendo el giro del arquetipo de la mujer vampiro, para tratar el tema de la violencia patriarcal y, mediante una serie de referencias críticas de la teoría del cine feminista, con figuras como Barbara Creed, Pilar Pedraza y Laura Mulvey, entre otras, entender las nuevas manifestaciones de lo femenino y lo monstruoso. The aim of this paper is to analyze the female monster in Ana Lily Amirpour’s film A Girl Walks Home Alone at Night (2014), exposing the reversal of the female vampire archetype to address the violence of patriarchy, and through a series of critical references from feminist cinema theory with figures such as Barbara Creed, Pilar Pedraza, and Laura Mulvey, among others, to understand the new trends of the feminine and monstrosity.
Article
Threading across different discursive, cultural, and political moments of the postapartheid context, gender-based violence, inarguably, is a phenomenon that must be read contextually and as contingent upon intersecting configurations of power that are tied to historical, political, and material fractures of our colonial legacies. Three immediate intersecting threads of analyses are undertaken here: (1) how extant knowledge archives on gender-based violence discursively reference spatial geographies and frozen temporalities of violence that result in the implicit racialization of gender-based violence and the psychological pathologization of its associated subjectivities in South Africa; (2) using Fanon’s concept of sociogeny, we read gender-based violence through a psychosocial lens to address this problematic; and (3) extending Fanon’s idea of psychopolitics, we argue that the trauma, racial alienation, and toxic gendering of society within coloniality is reflected in a neurotic structuring of the psyche itself.
Thesis
Full-text available
This thesis explores representation of the Iraq War in selected Anglo-American and Iraqi novels, examining how several authors have employed this theme in their narratives. The featured novelists are chosen from many writers who focus their efforts and their writing on this conflict. Criterion for selection included offering a critique of the diverse perspectives from which the conflict was perceived, the texts' engagement with the political conundrums underpinning war and its approach, how such fiction engages with a contemporary audience and what perspective are deployed to do so. Their public visibility provides the basis of one interpretative strand of the thesis. This study also explores and conceptualises how this conflict has entered the cultural consciousness and to what degree the novels fictionalise the conflict as their main subject, and assesses through which thematic emphases. The texts chosen and to be analysed are pivotal to our understanding of contemporary Iraq and its recent history. It will be argued that the thematic content of these texts contextualise modern war's multiple effects within not only the fictional textual world, but as well as their imaginative characters these representations become part of the experience at least vicariously of the audiences who read them. The texts discussed in subsequent chapters are either originally written in, or translated into English (for publication), and therefore all available in English, one major criterion of textual selection. It is interesting to examine the theme of the Iraq War and the historical and pragmatic vein and cultural point of reference from which authors write and has come to dominate the discourse of some contemporary novelists. The goal is to critically explore how the war has become a focal point and the framework of their narratives. The thesis will attempt to analyse how such novels depict the effects of political violence and why they are drawn to powerfully articulate the gruelling reality and experience of those fictionally engaged by and/or affected by it. It will be proposed that novels of and about this conflict are essential to study, understand, and engage with because of the content and the message they attempt to convey which is so crucial to understanding contemporary faultiness in socio-cultural histories, and the critical themes they utilize in writing and the dynamics through which they fictionalize their stories. Such fictional representations of this war serve an important societal, cultural, aesthetic and symbolic function. Thus the study encapsulates how novels of and about the Iraq War reveal and recapture the physical, psychological, and interpersonal losses that are felt by the civilians and military alike.
Thesis
Full-text available
Within the canon of Italian literature, there is but a small pool of research on the archetypical avant-garde movement of La Scapigliatura, especially in how this circle of unique circle of artists especially their authors and poets, depicted female characters within their works. In fact, there is a dominating view that the portrayal of women presented by the Scapigliati in their works is incredibly misogynistic in nature and was inspired by the "fear of women" that was commonly felt by male artists in the mid 1800's. However, this undergraduate thesis attempts to uncover the true nature of the women within the Scapigliatura. For many, their tragic ends and grotesque appearances in life came to represent the rebellious nature of the Scapigliati within Post-Risorgimento Italian society, thus reclaiming the abject as their ideal woman and standard of beauty in bold contrast to the literary model of the Risorgimento and Alessandro Manzoni before them. This leads to a conclusion that the Scapigliati, especially Iginio Ugo Tarchetti, used their fiction to break down the gender roles imposed harshly by the reality of society, in a subversion and gendered reconstruction of Rousseau's state of nature. It is through the Scapigliatura that female characters can be more than a modest beauty of the Manzonian historical novel narrative. They are allowed to be real women who are ugly and decaying in both beauty and moral inclinations as a mirror of the reality around the Scapigliati during a time of cultural and political uncertainty.
Article
The popular imagination of the 1970s and 1980s was a fertile breeding ground for monstrous children who proliferated within a political climate where austerity was becoming a central concept in Thatcherite thinking. In this article, I argue that, despite their neoliberal positioning as possessing certain modes of capital, children become “monstrous” in Doris Lessing’s The Fifth Child through their association with precisely the kinds of excess which austerity politics condemns, constituting a corporeal and economic threat. I read these “little monsters” as articulations of the social anxieties about lack and scarcity upon which austerity is based and which it subsequently generates and, more broadly, as inscriptions of the ambivalent position of the child within Thatcherite policy and rhetoric.
Thesis
Full-text available
The dissertation Topographies of Cruelty: Radical Performances in South African and British Theatre, maps physical, social, political, aesthetic, and psychological landscapes of cruelty performed on the body, in the imaginary, in language, in performers, and on the stages through radical theatre performances. By identifying and locating the forms, features, and functions of cruelty employed in the selected plays, this dissertation aims to provide a valuable contribution to the field of literary and cultural studies and to discourses on global violence, crisis, and oppression, the power of literature, and the human capacity for kindness in the face of terror. It also attempts to investigate forms of cruelty in South African and in British theatre on equal terms, thereby countering the hegemonic Eurocentric bias by taking a decolonial, feminist stance. The radical performances investigated in this doctoral thesis render extreme acts of cruelty and confront their readers and audiences, as witnesses, with actually exercised or experienced pain and violence. Sarah Kane’s Cleansed (1998), Harold Pinter’s The Hothouse (1980) and Martin McDonagh’s The Pillowman (2003) deal with psychological cruelty, verbal cruelty, and cruelty in the imagination. Yaël Farber’s A Woman in Waiting (1999), Amajuba: Like Doves We Rise (2000), and He Left Quietly (2002), as well as Lara Foot’s Tshepang: The Third Testament (2005), in turn, negotiate extraordinary and ordinary acts of cruelty as well as life-in-crisis on stage as a conscious mode of giving testimony to committed atrocities and inflicted trauma in recent South African history. The performances #JustMen (2018), a South African workshop play against gender-based violence, and Mojisola Adebayo’s The Interrogation of Sandra Bland (2017), a theatrical response to the Black Lives Matter movement, are both collective activist pieces advocating for social and political change.
Article
The present paper discusses the intricate development of feminine sexuality by drawing on the ideas of André Green. The paper's main argument is that feminine sexuality is unique in being dependent on the creation of a representation of an internal empty space (as an ontological entity). This takes place through "the work of the negative" and involves an instinctual movement of "double reversal," by which the drive directed at the object helps the subject establish their own body as a source of pleasure. The author will argue that the combination of these two processes, defined in this paper as "the work of the feminine," is a prerequisite of the subject's capacity to structure themselves as having a sense of internal abundance, vitality, and power that is grounded in a receptive sexual position that is relevant to both sexes. The paper will conclude by presenting clinical material demonstrating how "the work of the feminine" manifests in the way the vagina is represented in feminine sexuality. As an afterthought, the paper will describe Green's unique contribution in relation to Winnicott's contribution and to the different ways in which these two authors address the manner in which the subject comes to dwell in their body.
Article
Full-text available
This paper develops theory on stigma, capitals, and the female reproductive body, explored through analysis of empirical research on the uptake of menstrual cups, a reusable menstrual technology. Conventional menstrual products are single‐use disposables increasingly made of plastic and often disposed of by flushing, adding a significant load to marine pollution. Uptake of reusable products such as cloth pads, period underwear, and menstrual cups is increasing, but so far little is known about the effects of using such products on menstruators and on menstrual organization more broadly. My empirical research studied menstrual cup use in a small cohort of undergraduates in Melbourne, using a dual diary and interview technique. “Sustainability” as a key value was primary in participants' desire to try the cup, which most then found to be more convenient than other methods. These factors contributed to increased cultural capital surrounding menstruation, to the point where the cup and its use were described as “cool”. This new status facilitated articulation of menstrual experience with partners, peers, and families, rendering users greater agency and community in what has normatively been constructed as a solitary, silenced experience. Using the cup detached users from the menstrual disposability market economy, and therefore to some extent from its stigmatizing narrative and symbolic violence. Yet the cup had a significant paradoxical effect, in that users were able to “forget” they were menstruating during the day and in organizational settings, while encountering menstrual blood more intensely when they got home, differently enclosing the female reproductive body.
Conference Paper
Full-text available
The immune system is built from our cells, organs, proteins and tissue, and it is the sum of the whole that defends the body against illness. In this paper, we introduce the immune system as a site to explore more-than-human design. Specifically, we address the effects of chronic stress on the immune system to explore a set of speculative wearable designs that combine the microbial basis of the human body with that of more-than-human. We reflect on the relationships within living materials and discuss symbiosis and mutualistic care when designing alternative wearable artifacts and trackers.
Conference Paper
Full-text available
Communicating appropriately in a target language (English language) requires both ESL Malaysian learners and their counterparts Arab EFL learners to develop linguistic and pragmatic awareness in the target language. One aspect of such development is their use of linguistic hedges to modify their speech acts and realize politeness. However, little attention has been given to investigate these learners’ linguistic and pragmatic use of these devices. The purpose of this study is to fill this gap in the literature by conducting a study that examines the use of hedges in relation to politeness between these two groups of learners while exchanging their opinions in focused group discussions created on WhatsApp application. To this end, the current study used a descriptive design that employed quantitative and qualitative methods to identify the types, frequency, and pragmatic functions of hedges in relation to politeness. The sample consisted of four EFL Arab learners and five Malaysian ESL learners who study English in a Malaysian university. The data collected in forms of comments by means of focused group discussions were coded and analyzed based on Fraser’s (2010) Taxonomy of English Hedges. They were then uploaded to Excel to find the frequency and percentages of the types of hedges used. This was followed by a detailed pragmatic analysis based on Brown and Levinson’s (1987) Politeness Theory. The findings showed that both types of learners use hedges in stating their opinions. However, they use different categories and hedges types and realize politeness differently.
Article
The study intends to explore and analyze the role of corporeality in expressing earlier repressed traumatic events as manifested in Margaret Atwood’s Cat’s Eye (1988). It shows that the protagonist, Elaine Risley, is imprisoned within the prison of her traumatic past memories that still live involuntarily in her present, shaping her language and behavior. It equally reveals that the connection between the protagonist’s body and her conscious self is damaged due to overwhelming effects of her trauma; triggering her body to unconsciously project those traumatic memories. The study specifically examines how Atwood’s protagonist’s trauma returns through the cracks of her consciousness in a form of auditory and verbal hallucinations and dissociation from herself. In order to probe the connection between soma and trauma in Atwood’s novel, the study leans on a distillation of psychological theorizations; particularly Sigmund Freud’s emphasis on the somatic expression of trauma. Through a textual analysis of Atwood’s novel, the study highlights that trauma is responsible for the protagonist’s anxiety, fear and loss of language, seeking to examine how Atwood’s protagonist strives to heal from her earlier traumatic memories through different mediums including art.
Chapter
Die Seduktionstheorie definiert das Medium Film in einem weiteren Sinne als ein Medium der Verführung und kann sowohl als filmtheoretischer Ansatz wie auch als eine filmanalytische Methodik im Rahmen einer Filmkulturanalyse betrachtet werden. Der Begriff ‚seduction’ im Kontext der Filmtheorie taucht erstmals bei Patrick Fuery in New Developments in Film Theory (2000) auf und wurde in dem Buch Ritual & Verführung. Schaulust, Spektakel und Sinnlichkeit im Film (Stiglegger, Marcus. 2006. Ritual & Verführung. Schaulust, Spektakel und Sinnlichkeit im Film. Berlin: Bertz & Fischer.) differenziert. Mit dem dreistufigen Analysemodell der Seduktionstheorie wird der Film CAPOTE einer eigehenden Betrachtung unterzogen, die seine Vereinnahmungsmechanismen offen legt. Die Mehrfachcodierung wird in diesem Prozess deutlich: CAPOTE als Starkino, als Biopic, als Künstlerporträt und als queere Ambivalenzerfahrung.
Article
Full-text available
For Jean Baudrillard, the age of late capitalism is characterised by an endemic loss of meaning, as “serial repetition” produces a cultural state in which signifiers refer not to actual objects, but to previous signifiers, and thus become increasingly emptied of their original denotation. For Jerrold Hogle, Baudrillard’s simulacrum essentially characterises the majority of Gothic narratives. This paper explores this relationship through an examination of two novels, Sarah Waters’ The Little Stranger (2009) and Ali Smith’s The Accidental (2006), both of which involve spectral intrusions into bourgeois homes during periods of social and economic upheaval. It begins by meditating on representations of conservatism as intrinsically spectral in its attempt to perpetually relive the dead or dying ways of the past in the present. It then considers Fred Botting’s characterisation of the Gothic as an evocation of nightmare, contrasting the aptness of this reading to Waters’ morbid novel with The Accidental, which instead focuses, more optimistically, on awakenings. Finally, it contemplates the Derridean concept of the spectre as that which must be acknowledged to effect change within these novels, examining their characters’ comparative levels of willingness to do so in relation to the extent to which their lives are either corroded or transformed. Ultimately, this paper argues that a recurrent question posed in Smith’s novel – “Imagine or afraid?” – encapsulates the essential choice with which humanity is repeatedly faced: as our old ways collapse around us, we can either cling to them at our peril, or dare to imagine an alternative future.
Book
Full-text available
This edited volume explores the representations of social inequality in 21st century global art cinema.
Research Proposal
Full-text available
One of the major studies in the new century, which its prominence could not be ignored, is psychoanalysis. The more the psyche is explored, the more its concealed parts are discovered and perceived. Julia Kristeva has probed the layers of unknown essence and psyche of an individual to comprehend how it could be in process and how the processes are categorized into motherhood and fatherhood. Undoubtedly, the resentment of the subject is due to the failure of one or both of the processes. To reform and revise the confused psyche's source of menacing it is significant to delve into the spring of inception and formation of subjectivity, and consequently the result would be the reason of the non fulfillment and how to amend it. In order for the processes and their lacks to be realized one of the Margaret Atwood's masterpieces' characters will be studied in this article which is named Cat's Eye (1988), because by seeking the processes of their lives, their behaviors, and acts distinguishing of the failures, based on lack of any process, and the abjection's operation for heeling the damaged psyche, would be discerned. The identity of each character and individual has been constructed based on semiotic and symbolic that Kristeva has discussed of its importance.
Presentation
Abstract of the paper presented The introduction of technology to the fisheries sector in Kerala in the 1950s has led to significant changes within the sector. The stated objective of increasing the productivity of the sector soon translated into pauperization of the artisanal/traditional sector and resulted in sharp divisions between the traditional and the mechanized segments. A major structural change in the fisheries sector was the creation of class of non-operating operators whose entry was based on access to capital rather than skill involved in fishing. Thus, fishing turned into an area of ‘investment.’ This class was also a by-product of the modernization drive led by a technocratic state. This adversely affected the traditional sector which was bound by notions of skill and community labour. Over time, the traditional sector saw movement of the earlier small boat owners to the now mechanized and motorized boats but as workers. This proletariatisation also proved to be precarious as fish became a product of international trade to draw in foreign exchange earnings. The paper seeks to explore the tensions of accommodating the fishing community both- traditional and modern within the traditional class framework. Further that fishing community is mostly owner operated in the traditional sector and thus does not fit into the industrial worker model. The methodology is primarily qualitative beginning with review of literature to establish the history of exclusion of the fisher community and supplemented with oral narratives collected from coastal villages in Ernakulam, Kerala during October-December 2018.
Article
Full-text available
Little and colleagues’ (1998) paper describing a key aspect of cancer patients’ experience, that of “liminality,” is remarkable for giving articulation to a very common and yet mostly overlooked aspect of patient experience. Little et. al. offered a formulation of liminality that deliberately set aside the concept’s more common use in analysing social rituals, in order to grasp at the interior experience that arises when failing bodily function and awareness of mortality are forced into someone’s consciousness, as occurs with a diagnosis of cancer. We set out the reasons as to why this analysis was so significant in 1998—but we also consider how the “liminality” described by Little and colleagues was (as they suggested) a feature of modernity, founded on what we term “the mirage of settlement.” We argue that this mirage is impossible to sustain in 2022 amid the many forms of un-settling that have characterized late modernity, including climate change and COVID-19. We argue that many people in developed nations now experience liminality as a result of the being forced into the consciousness of living in a continued state of coloniality. We thus rejoin the social aspects of liminality to the interior, Existential form described by Little et. al.
Chapter
Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion aims at advancing the study of anime, understood as largely TV-based genre fiction rendered in cel, or cel-look, animation with a strong affinity to participatory cultures and media convergence. Taking Neon Genesis Evangelion (Shin Seiki Evangerion) as a case study, this volume acknowledges anime as a media form with clearly recognizable aesthetic properties, (sub)cultural affordances and situated discourses. First broadcast in Japan in 1995-96, Neon Genesis Evangelion became an epoch-making anime, and later franchise. The initial series used already available conventions, visual resources and narrative tropes typical of anime in general and the mecha (or giant-robot) genre in particular, but at the same time it subverted and reinterpreted them in a highly innovative and as such standard-setting way. Investigating anime through Neon Genesis Evangelion this volume takes a broadly understood media-aesthetic and media-cultural perspective, which pertains to medium in the narrow sense of technology, techniques, materials, and semiotics, but also mediality and mediations related to practices and institutions of production, circulation, and consumption. In no way intended to be exhaustive, this volume attests to the emergence of anime studies as a field in its own right, including but not prioritizing expertise in film studies and Japanese studies, and with due regard to the most widely shared critical publications in Japanese and English language. Thus, the volume provides an introduction to studies of anime, a field that necessarily interrelates media-specific and transmedial aspects. In Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion, anime is addressed from a transnational and transdisciplinary stance. The disciplinary and methodological perspectives taken by the individual chapters range from audio-visual culture, narratology, performance and genre theory to fandom studies and gender studies. In its first part, the book focuses on textual analysis and media form in the narrow sense with regard to filmic media, bank footage, voice acting and musical score, and then it broadens the scope to consider subcultural discourse, franchising, manga and video game adaptations, as well as critical and affective user engagement.
Article
J'aimerais illustrer par quelques exemples que l'étude du prélangage — surtout l'analyse de l'acquisition de la langue maternelle - loin de détourner l'attention des problèmes linguistiques proprement dits, met en relief l'aspect dynamique, évolutif du langage et nous permet de mieux comprendre le mécanisme des changements linguistiques.
Suppots et supplications
  • Antonin Artaud
Antonin Artaud, "Suppots et supplications," in CEuvres Completes (Paris: Gallimard, 1978), 14:14. 10. Artaud, p. 72. n. Artaud, p. 203.
Television (Paris: Seuil, 1974), p. 28. 14. In connection with catharsis in the Greek world, see Louis Molinier, Le Pur et I'impur dans la pensee des Grecs
  • Jacques Lacan
Jacques Lacan, Television (Paris: Seuil, 1974), p. 28. 14. In connection with catharsis in the Greek world, see Louis Molinier, Le Pur et I'impur dans la pensee des Grecs (Paris: Klincksieck, 1952).
Note sur les concepts de souillure et de purete dans l'idealisme allemand
  • See A Philonenko
See A. Philonenko, "Note sur les concepts de souillure et de purete dans l'idealisme allemand," Les Etudes Philosophiques (1972), 4:481-493.
He suggests that the reactions are (phantasmatically?) very archaic when he considers the possible connections between childish phobia of small animals or storms, for instance, and "the atrophied remainders of congenital preparation for real dangers that are so clearly developed in other animals
  • Sigmund Freud
Sigmund Freud, Analysis of a Phobia in a Five-Year-Old Boy, in The Complete Psychological Works of Sigmund Freud (London: Hogarth Press, 212 2. SOMETHING TO BE SCARED OF 1953-1974), 10:83. Later, when he referred to "the enigmatic phobias of early childhood," Freud explicitly defined them as "reactions to the danger of object loss." He suggests that the reactions are (phantasmatically?) very archaic when he considers the possible connections between childish phobia of small animals or storms, for instance, and "the atrophied remainders of congenital preparation for real dangers that are so clearly developed in other animals." He nevertheless concludes that, "in the case of man, the only portion of that archaic inheritance to be appropriated is what pertains to object loss" (Inhibitions, Symptoms, and Anxiety, in Complete Psychological Works, 20:160). That clearly locates the reflection on phobia within the problematic scope of object relation. What remains to be clarified is the latter's dependency on symbolic function, particularly on language, on which rest not only its very existence but all of its variants.
Observation of a Phobia" (contribution to Anna Freud's seminar, 1946)
  • Anneliese See
  • Schnurmann
See Anneliese Schnurmann, "Observation of a Phobia" (contribution to Anna Freud's seminar, 1946), in Psychoanalytic Study of the Child, 3/ 4:253-270.
Analysis of a Phobia
  • Freud
Freud, Analysis of a Phobia, p. 139.
Voyeurism is a normal moment of evolution during pregenital stages
  • Freud
  • Papers On Metapsychology
Freud, Papers on Metapsychology, in Complete Works, 14:122. Emphasis mine. 8. "Voyeurism is a normal moment of evolution during pregenital stages;
it allows a very sophisticated approach to the Oedipal conflict. Paradoxically, it becomes a perversion as a result of its failure to provide assurance against the possible destruction of the object
if it remains within limits, it allows a very sophisticated approach to the Oedipal conflict. Paradoxically, it becomes a perversion as a result of its failure to provide assurance against the possible destruction of the object." Michel Fain, "Contribution a l'analyse du voyeurisme," Revue Francaise de Psychanalyse (1954), 18:177-192-9-Jacques Lacan, EcritsIA Selection (New York: Norton, 1977), pp. 156-157.
Draft G. Melancholia" (1895), in vol. 1 of Complete Works
  • Freud
Freud, "Draft G. Melancholia" (1895), in vol. 1 of Complete Works; ].-
not a lacuna but a hole, not a want but an overflow
  • B Comments
B. Pontalis comments, "not a lacuna but a hole, not a want but an overflow," in Entre le rive et la douleur (Paris: Gallimard, 1977), p. 248.
L'Abjection et les formes miserables
  • See Georges Bataille
See Georges Bataille, "L'Abjection et les formes miserables," in Essais de sociologie, (Euvres completes, (Paris: Gallimard, 1970), 2:2i7ff.
For the Lele evil is not to be included in the total system of the world, but to be expunged without compromise
  • See Douglas
See Douglas, pp-I49ff-' 214 3-FROM FILTH TO DEFILEMENT 15. "For the Lele evil is not to be included in the total system of the world, but to be expunged without compromise" (Douglas, p. 171).
An Area of Darkness (London: Deutsch, 1964), as quoted by Douglas
  • V S Naipaul
V. S. Naipaul, An Area of Darkness (London: Deutsch, 1964), as quoted by Douglas, p. 124.
Observations sur la notion de "reste" dans le brahmanisme
  • See Charles Malamoud
See Charles Malamoud, "Observations sur la notion de "reste" dans le brahmanisme," Wiener Zeitschrift fur die Kunde Siidasiens (1972), 16:5-26. 19. See K. Maddock, "Dangerous Proximities and Their Analogues," Mankind (1974), j(3):206-2i7.
Language and Social Forms. A Study of Toda Kinship Terms and Dual Descent
  • M B Emenau
M. B. Emenau, "Language and Social Forms. A Study of Toda Kinship Terms and Dual Descent," in Language, Culture, and Personality, Essays in Memory of Edward Sapir (Menasha, Wis.: Sapir Memorial Publication Fund, 1941), PP-I58-I79-
Critique and Commentary
  • Mary Douglas
Mary Douglas, "Critique and Commentary," in Neusner, pp. 138-139. 6. Genesis 8:20.
Semiotique de la nourriture dans la Bible
  • J Saler
See the excellent article, J. Saler, "Semiotique de la nourriture dans la Bible," Annates, July-August 1973, pp. 93ff. 12. Ibid.
On the Importance of Symbol Formation in the Development of the Ego
  • See Melanie Klein
See Melanie Klein, "On the Importance of Symbol Formation in the Development of the Ego," in Contributions to Psychoanalysis ig2i-ig^ (London: Hogarth Press, 1948).
If Man is not by nature what he should be
  • See J Jeremias
See J. Jeremias, Les Paroles inconnues de fesus (Paris: Cerf, 1970), pp. SO-62. 2. "If Man is not by nature what he should be, then he is implicitly rational, implicitly Spirit. [...] in the state of nature he is not what he ought to be";
Between sin and its forgiveness there is as little place for an alien thing as there is between sin and punishment. Life has severed itself from itself and united itself again
  • Qui
QUI TOLLIS PECCATA MUNDI 3. Such osmosis of separate terms, such heterogeneity, appears to have been glimpsed by Hegel when he considered "sin" as inseparable from "remission of sins" and concluded, "Between sin and its forgiveness there is as little place for an alien thing as there is between sin and punishment. Life has severed itself from itself and united itself again." The Spirit of Christianity and its Fate in Early Theological Writings, T. M. Knox, tr. (Chicago: University of Chicago Press, 1948), p. 239.
See "Translator's Note" in this volume. 6. The passage within brackets appears neither in the Speirs translation (3:53) nor in the Samtliche Werke (16:265). See "Translator's Note
  • William L Rossner
The Speirs translation of Lectures on the Philosophy of Religion reads, "This is the extraordinary combination which directly contradicts the Understanding" (3:76). It corresponds to the text of the Samtliche Werke (Stuttgart, 1959), 16:286: "... diese ungeheure Zusammensetzung ist es, die dem Verstande schlechthin widerspricht." See "Translator's Note" in this volume. 6. The passage within brackets appears neither in the Speirs translation (3:53) nor in the Samtliche Werke (16:265). See "Translator's Note." 7. Jacques Maritain, The Sin of the Angel, William L. Rossner, S. J., tr. (Westminster, Md.: Newman Press, 1959), p. 50.
Subsequent references to this work
  • Tr Marks
Marks, tr. (Boston: Little, Brown, 1934), p. 213. Subsequent references to this work, abbreviated as J, will appear in the body of the text. 2. Letter to Milton Hindus, dated May 29, 1947, in Louis-Ferdinand Celine II, Les Cahiers de I'Herne (1965), 5:76.
L'Experience et la pratique
  • See Julia Kristeva
See Julia Kristeva, "L'Experience et la pratique," in Polylogue (Paris: Seuil, 1977), pp. 107-136.
  • Louis-Ferdinand Celine
Louis-Ferdinand Celine, Death on the Instalment Plan, Ralph Manheim, tr. (New York: New Directions, 1966), pp. 39-40. Subsequent references to this work, abbreviated as D, will appear in the body of the text.
Subsequent references to this work
  • Louis-Ferdinand Celine
  • Bernard Band
  • Jack T Frechtman
  • Nile
Louis-Ferdinand Celine, Guignol's Band, Bernard Frechtman and Jack T. Nile, tr. (New York: New Directions, 1969), p. 135. Subsequent references to this work, abbreviated as G, will appear in the body of the text. 4. Louis-Ferdinand Celine, Rigadoon, Ralph Manheim, tr. (New York:
Entretiens avec A. Zbinden
  • Those
  • Who
  • Wreck
THOSE FEMALES WHO CAN WRECK THE INFINITE 1. "Entretiens avec A. Zbinden," in Celine, Romans II (Paris: Gallimard, 1974), P-945-
Ecole des cadavres (Paris: Denoel, 1938), p. 140. Subsequent references to this work
  • Louis-Ferdinand Celine
Louis-Ferdinand Celine, L'Ecole des cadavres (Paris: Denoel, 1938), p. 140. Subsequent references to this work, abbreviated as EC, will appear in the body of the text.
See letter to Hindus
  • L'herne
See letter to Hindus, May 15, 1947, L'Herne, 5:76.
L'Herne, 5:72. 11. Letter to Hindus
  • L'herne
Same letter, p. 75. 10. Letter to Hindus, March 30, 1947, L'Herne, 5:72. 11. Letter to Hindus, May 15, 1947, L'Herne, 5:75. 12. Letter to Hindus, May 29, 1947, L'Herne, 5:76. 13. Entretiens avec le professeur Y. p. 72. 14. Entretiens, p. 23.
With respect to segmentation in contemporary French, see Jean Perrot
  • Leo Spitzer
  • Celine Une Habitude De Style
Leo Spitzer, "Une Habitude de style, le rappel chez Celine," Le Francais Moderne (1935), 3:193-208; reprinted in L'Herne, 5:153-164. 19. With respect to segmentation in contemporary French, see Jean Perrot, "Fonctions syntaxiques, enonciation, information," Bulletin de la Societe de Linguistique de Paris (1978), 73(i) :8 5l Mario Rossi, "L'Intonation et la troisieme articulation," BSLP (1977), 72(i):55-68;
Intonation, fonctions syntaxiques, universaux
  • Claude Hagege
Claude Hagege, "Intonation, fonctions syntaxiques, universaux," BSLP (1977), 72(I):I-47.
Fonctions syntaxiques
  • See Jean Perrot
See Jean Perrot, "Fonctions syntaxiques." 2,2. Spitzer, L'Herne, 5:162.
L'Intonation et la troisieme articulation, and Hagege
  • See Fonagy
See Fonagy, "Prelangage et regressions syntaxiques." 25. See Rossi, "L'Intonation et la troisieme articulation, and Hagege, "Intonation, fonctions syntaxiques, universaux." IO.
Louis-Ferdinand Celine vous parle
  • Louis-Ferdinand Celine
Louis-Ferdinand Celine, Castle to Castle (New York: Delacorte, 1968), p. 80. 28. "Louis-Ferdinand Celine vous parle," in Romans II, p. 934. 29. Ibid., pp. 933-934-
L'Apocalypse ou les apocalypses de Saint Jean
  • R P Boismard
R. P. Boismard, "L'Apocalypse ou les apocalypses de Saint Jean," Revue Biblique, October 1949;
Une Conception juive de I'apocalypse (Paris: Debresse, 1966); etc
  • J Levitan
J. Levitan, Une Conception juive de I'apocalypse (Paris: Debresse, 1966); etc.