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