In horror films especially, though often showing up in psychological thrillers, is a moment on the screen that disrupts the rolling of the film—a growing crack in the wall, the movement of an inanimate object, the ominous glance of a distant character which up until now we thought nothing of. The abject is the moment in the film, when you come to realize that the flow of logic unrolling before you, is about to be halted by something other, or, when you come to realize that you were tricked into that logic, but in fact were on a very different trajectory from the beginning. Here, this non object, which stands opposed to me and I still attend to as an object, settles me into a desire for meaning, but being a non object, it draws me toward the place where meaning collapses. I want to think about the necessity of the abject in ethics.
Julia Kristeva's Abjection, The Power Of Horrors
Julia Kristeva's Abjection, The Power Of Horrors - Words | Bartleby
She is now a professor emeritus at the University Paris Diderot. Her sizeable body of work includes books and essays which address intertextuality , the semiotic , and abjection , in the fields of linguistics , literary theory and criticism, psychoanalysis , biography and autobiography, political and cultural analysis, art and art history. She is prominent in structuralist and poststructuralist thought. Kristeva is also the founder of the Simone de Beauvoir Prize committee.
Julia Kristeva Essays
Kristeva examines the notion of abjection—the repressed and literally unspeakable forces that linger inside a person's psyche—and traces the role the abject has played in the progression of history, especially in religion. She turns to the work of Louis-Ferdinand Celine as an almost ideal example of the cathartic, artistic expression of the abject. Kristeva begins with what she calls a "phenomenological" investigation of the abject. This means that Kristeva uses her personal experience—and the expressed experiences of others—to get some idea of what the abject is. From that basis, she goes onto give it a more rigorous definition.
At the end of To the Reader, the opening poem of Flowers of Evil , Charles Baudelaire examines the horrors of nineteenth-century life. This alignment of horror with boredom seems paradoxical. Indeed, we normally experience fear as inciting anxiety and perhaps morbid curiosity. We usually experience boredom, conversely, as a lack of worry or interest. Nevertheless, it seems that Baudelaire suggests something true about boredom in associating it with horror.