Yahoo Italia Ricerca nel Web

Risultati di ricerca

  1. Powers of Horror: An Essay on Abjection (French: Pouvoirs de l'horreur. Essai sur l'abjection) is a 1980 book by Julia Kristeva.The work is an extensive treatise on the subject of abjection, 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 ...

    • Julia Kristeva
    • Pouvoirs de l'horreur. Essai sur l'abjection
    • 1980
    • 219 pp.
  2. The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life. Abject. It is something rejected from which one does not part, from which one does not protect oneself as from an object. Imaginary uncanniness and real threat, it beckons to us and ends up engulfing us.

  3. 21 apr 2009 · Powers of horror : an essay on abjection : Kristeva, Julia, 1941- : Free Download, Borrow, and Streaming : Internet Archive.

  4. 13 lug 2018 · Julie Kristeva’s Powers of Horror is a massively important text for any scholar interested in horror or the abject. Although she does pull a lot on Freudian theory (which I don’t always agree with), she provides plenty of helpful insights into understanding abjection.

  5. 1 mag 1980 · What is this mysterious power behind the curtain of so many intense, uncomfortable emotions? It’s called abjection. It is the subject of Julia Kristeva's book, The Powers of Horror. Abjection is what happens when there is a breakdown of the distinction between self and other.

    • (3,6K)
    • Paperback
  6. TRANSLATED BY. Leon S. Roudiez. There looms, within abjection, one of those violent, dark revolts of being, directed against a threat that seems to emanate from an exorbitant outside or inside, ejected beyond the scope of the possible, the tolerable, the thinkable. It lies there, quite close, but it cannot be assimilated.

  7. 26 mar 2024 · Julia Kristeva’s Powers of Horror, which theorizes the notion of the ‘abject’ in a series of blisteringly insightful analyses, is as relevant, as necessary, and as courageous today as it seemed in 1984. Dazzling.