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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.
are noticeable in Powers of Horror were already in evidence in several earlier essays, some of which have been translated in Desire in Language (Columbia University Press, 1980). She her- self pointed out in the preface to that collection, "Readers will also notice that a change in writing takes place as the work progresses" (p. ix).
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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.
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.
21 apr 2009 · Powers of horror : an essay on abjection : Kristeva, Julia, 1941- : Free Download, Borrow, and Streaming : Internet Archive.
In Powers of Horror, Julia Kristeva offers an extensive and profound consideration of the nature of abjection. Drawing on Freud and Lacan, she analyzes the nature of attitudes toward repulsive subjects and examines the function of these topics in the writings of Louis-Ferdinand Céline, Marcel Proust, James Joyce, and other authors.
situating Powers of Horror in the context of the performative structure of her previous work and the arguments in Revolution and Poetic Language (1984b), this essay will explore the intricacies and implications of the performative in Kristeva's text. PERFORMATIVE PARADOXICAL STRUCTURES: THE THEORIST'S SCAR
