My Fatherless Research Paper

My Fatherless Research Paper
Fatherless, a ten lettered word that has had the capability to transform me into the person I am today.
The word which reminds me of the cold bars that separated my father and me.
Growing up I learned through my mother's strength to be dedicated to making a change in my life.
To work hard for what is right no matter what obstacles I had to fight through. Although I treasure
my mother's efforts, I wish my father would have been there to guide me through life's lessons; I
wish he would be here today to be proud of everything I have acquired.
Knowing that holidays have a deeper meaning, distresses me. Father's Day is the day in which dads
are honored by their children for what they do. I see it as a day that mocks me for not having the
man
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Summary Of ' Looking Glasses And Neverlands ' By Karen Coats
In chapter seven of "Looking Glasses and Neverlands" by Karen Coats, the subject of abjection and
adolescent fiction is discussed. Coats says, "In its social context, abjection means to operate at the
social rim" (Looking Glasses and Neverlands. 138) which I interpreted as meaning trying to fit into
societal standards; whether it be in terms of dress, language, sexuality, or race. (There's obviously
many more examples, but those were the few that came into my head immediately). Coats goes on
to say, "Adolescence is a time of cultivating group identity; socially abject figures cannot seem to
manage either the material conditions and habits or the identifications necessary to sustain a position
in a social group" (Looking Glasses and ... Show more content on Helpwriting.net ...
Characterized by the material expressions of dress, drugs, music, language, and sexuality, most
young–adult novels have a relatively short shelf life" (Looking Glasses and Neverlands. 137–138)
which I feel as though The Yellow Wallpaper almost ignores, which makes it such a memorable
piece for the ages. As mentioned before, this piece was published in a time where mental illnesses
were not something people were extremely knowledgable and accepting of (compared to today's
time). The interesting thing about this piece, though, is that the narrator even overlooks her illness
because her husband has convinced her it's no big deal. I haven't done any research, but I'm sure this
piece caused some controversy about how it discussed mental illness, especially coming from a
woman. It's interesting because if this piece was published in the 2000's, it would be no big deal,
because mental illnesses are so commonly known and accepted; people definitely have more
knowledge about them than they did in 1892. While introducing herself and her husband, John, the
narrator in The Yellow Wallpaper says, "If a physician of high standing, and one's own husband,
assures friends and relatives that there is really nothing the matter with one but temporary nervous
depression – a

Leo Tolstoy's The Death Of Ivan Ilyich
Leo Tolstoy is a master of realistic fiction and one of the most acclaimed novelists of all time. He
writes "The Death of Ivan Ilyich" in 1886 and it is one of the best examples of a novella. Tolstoy
uses many literary terms in this piece making it a very important literary piece and on top of the
literary importance this whole novella gives many life lessons that everyone, student or adult, should
read about and learn. "The Death of Ivan Ilyich" is a story about a judge that is more focused on
advancing his career than his family and his suffering through a fatal injury. The story starts at the
end of Ivan Ilyich's life, at his funeral. His judge friends attended his funeral, instead, of mourning
him, they were anticipating the promotions that they would now receive after his death. After his
funeral, the story shifts back to the start of his life. Ivan grew up in a normal home with a normal
family. Ivan meets and marries Praskovya. Things are great and then she becomes pregnant and she
starts to annoy Ivan. She interrupts the normal lifestyle that Ivan has been used to his whole life and
because of this Ivan consumes ... Show more content on Helpwriting.net ...
Some of the literary concepts in this story are abjection and existentialism. Existentialism is the
process of defining one's self through living which is making choices and following them through; it
is this act of choosing that gives meaning to one's life. Abjection is the event where we lose
something important to ourselves that we would still like to keep when we are forced to face a
traumatic experience. Without this loss, or abjection, it is impossible to experience jouissance.
Jouissance is a moment of complete understanding, which allows you to see your place in the world
or as others call it, an epiphany. We see this in the story when he realizes his disease is not just a
disease, but it is a matter of life and

The Living Dead Sociology
Socialization plays a huge role in zombie narratives and has evolved tremendously within films. It
refers to the lasting process of inheriting and circulating norms, customs and principles, providing
an individual with the skills and habits required for partaking within his or her own society. In Night
of the Living Dead Romero's monsters are mainly othered creatures, having virtually no subjective,
human abilities and promising almost no emotional suture with the viewers. Although, it is
noticeable that the zombies in this film aren't shown as bloody figures with limbs falling off, they do
look like regular people. This explains why Barbra does not hesitate to run towards her zombie
brother. The zombies aren't social isolates they have a preference ... Show more content on
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In Night of the Living Dead the human drive is the engine that drives the infinite number of undead
corpses constantly evolving. Romero portrays sex, death, and revolution instincts as dangerous
forces that are threatening to human life. Civilizations key job is to overcome the hostile forces of
nature, since the needs of human survival are not in normal abundance. Necessities are easier to
obtain when individuals work as a group. Each person develops a role and contributes, working to
create a civilization. Basically, work means sacrifice and a lot of unfulfilling hard work, but it is
crucial. When considering the idea of a civilized order, psychoanalyst Sigmund Freud's theories are
important. Specifically, how primary instincts reject social order and demand endless pleasure,
"civilization is unable to grant what the instincts crave, and the two forces fall into direct conflict
with each other" (Clark, 198). Deep down, there is a part of the individual's mind that still desires
instinctual pleasure, even if it's forbidden. Romero's zombies in this film become nothing less than a
visual metaphor for the return of the repressed, the idea that the unlawful desires boil up within the
social order and become the shady basis of civilization. In Night of the Living Dead individual's
superego and sense of slavery to a higher authority is surpassed by a hostile and unlawful mission
for power. Mr. Cooper is constantly undercut by

Kristeva's Powers Of Horror Essay
Bell Hook's Marginality as a Site of Resistance, is an engaging and powerful comment on the
solicitude for all those colonised on the perimeter of society. That one must embrace this position
and identify as, but not be defined as the marginalised. Hooks argues in her essay, that succumbing
solely to the identity of the oppressed be it race, gender or class, stifles one individualism and
creativity. "This space that is the margin, that is a site of creativity and power, that inclusive space
where we recover ourselves." (Hooks, 1990, p.343) To instead use this site of marginality as a
vantage point to gain a formative viewpoint and destabilise the deep structures of power and cultural
domination. Julia Kristeva's Powers of Horror is an essay ... Show more content on Helpwriting.net
...
"Kristeva is attempting to explore the different ways in which abjection works within human
societies as means of separating out the human and non human." (Creed, 1993, p.8) It will focus on
Kristeva's theory of the abject and the construction of the human subject in relation to the border, the
mother–child relationship and the feminine body. It will also explore how the representation of
woman as abject is almost always in relation to her mothering and reproductive functions. The
representation of women in relation to Freud's castration and the religious abject as discussed in
Powers of Horror will also be examined. This chapter will also include a discussion on Kristeva's
abject through Barbara Creed's The Monstrous Feminine. "All human societies have a conception of
the monstrous feminine, of what it is about women that is shocking." (Creed, 1993, p.1) Creed gives
an interesting insight to Kristeva's abject and Freud's theory on castration in horror films. By
looking at the construction of female monsters and what it is about them that is monstrous, in
particular the archaic mother, the monstrous womb and the castrating mother as archetypes of the
abject

Analysis Of Powers Of Object By Sylvia Plath
Fatima Kausar
Miss Kanza Javed
Modern Novel – II
April 25, 2016.
Application of Theory of Abjection by Julia Kristeva on Bell Jar by Sylvia Plath Theory of
Abjection described by Julia Kristeva in her book, Powers of Horror, depicts women as abject i.e.
loathsome, sinister and scheming. In Powers of Horror, Kristeva explains that there are many
aspects of humanity that fall in the category of abject. She elaborates "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." This suggests that abject is
not what is unhealthy or ugly; anything that doesn't respect the rules, norms, borders and a position
... Show more content on Helpwriting.net ...
She considers the birth process to be repulsive, painful and horrific. She shares her experience of
seeing a pregnant woman going through the labor pains, "She seemed to have nothing but an
enormous spider–fat stomach and two little ugly spindly legs propped in high stirrups and all the
time the baby was being born she never stopped making this inhuman whooing noise". The
resentment of Esther towards the maternal abject is quite obvious here. Her sentences clearly depict
her scornful behavior towards the pregnant ladies who seem to her to be horrifying and the process
itself seems

Dialectical Journal Chapter 23 Summary
The beginning of Chapter VIII, El titiritero del Portal, opens with nature's celebration of the abject's
removal as the city itself comes alive. "...Mal vestidas de luna corrían las calles por las calles sin
saber bien lo que había sucedido y los árboles de la plaza se tronaban los dedos en la pena de no
poder decir con el viento, por los hilos telefónicos, lo que acaba de pasar" (Asturias 32; Brown 344).
Pelelé's body, the final link to his abjection, is then discharged?? by the society that deems him to be
an outlier (Kristeva 1). This imagery parallels the death of another beggar earlier in the novel –
Mosco (Mosquito). Chapter I, introduces Mosco as being rejected because he is blind and has lost
both his legs. "¡Yo, que pasé la infancia

As I Lay Dying: Faulkner’s Aggressive Humor Essay
In William Faulkner's As I Lay Dying, Faulkner portrays the death of Addie Bundren and her
family's quest to honor her dying wish to bury her in the town of Jefferson. Faulkner utilizes humor
in the novel to lighten the mood of death and as an act of transgression against the orthodox
Christian views of death as it relates to good souls dying and becoming angels. Addie Bundren's
son, Vardaman, relates to the orthodox Christian views of death, and the synonymous use of humor
with these views ultimately creates an idea about humanity's perception of death and how they
should live, which is enhanced through John Morreal's "Humor in the Holocaust: Its Coping,
Criticizing, and Superiority" and "'The Abject'– A Brief Definition."
Addie ... Show more content on Helpwriting.net ...
This represents a change in his behavior and life because his mother's death has him focused more
on the concept of death rather than his actual life. This humor serves as aggression to the orthodox
Christian beliefs because when someone dies it is customary for Christians to cast away their loved
ones by disregarding who they were alive and focus more on where they are after death in
association to their own lives. The comparison of these beliefs to Vardaman's actions in the novel
suggests that people change when they deal with death, so they try to create an understanding,
which, in time, changes who they were in life before they dealt with the concept of death.
After trying to contemplate his mother death, Vardaman comes to the humorous realization that his
"mother is a fish" (101). Vardaman's beliefs manifests as a humorous comparison to the orthodox
Christian beliefs that good souls die and become angels in heaven. According to John Morreal in
"Humor in the Holocaust: Its Coping, Criticizing, and Superiority," humor serves as a cohesive
function because it "draws a line between an in–group and an out–group." In the novel, the out–
group is the Christians orthodox perceptions on death, and the in–group is those with different
perception of death. Because humor creates discourse on a subject, the humor in Vardaman's views
on his

Martin O Brien Use Of Abjection And Pain
Examine a body art/live art practitioner in depth, using two pieces of their work as case studies.
Using these pieces, contextualize the artist within the history of body–based/ live art performance.
An Analysis of how performance artist Martin O'Brien uses abjection and pain in Sanctuary Ring
(2016) and Mucus Factory (2011–2014) In this essay I will speak about the use of abjection and pain
in Martin O'Brien's performance works. This will be done through an exploration of two of Martin
O'Brien's performances, Mucus Factory (2011–2014) and Sanctuary Ring (2016). I will draw on the
book Powers of Horror (1982) by Julia Kristeva as a focus on the theoretical concept of abjection,
alongside other relevant sources that analyse the use of abjection ... Show more content on
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O'Brien is seen to contradict this statement because he makes his pain visible to the viewer by
vigorously beating the chest in Mucus factory. O'Brien endured nine hours of this repetitive cycle by
beating the chest in order to clear the mucus from the lungs. The question posed here is, is pain
really pain if it has a positive outcome? After receiving a presentation from him he explained (after
having an examination by medical specialists) that the durational performance made the mucus clear
and that his health was the best it had ever been, therefore does the positive outcome of the
examination outweigh the physical pain that O'Brien inflicted upon himself? It can also be debated
that as the viewer we cannot inhabit O'Brien's body, nor can we experience his felt pain, but the
viewer may have a desire to know what it feels like. (Ahmed, 2010) Because we read O'Brien's body
as a 'sign of pain,' (Ahmed, 2010, 24) the onlooker may become curious as the real life chronic
illness is put on display before them. From an onlooker's point of view, this may be an entirely new
experience, making them question their own lived experience, and question what pain really is in
relation to their own body. Alternatively, pain is connected with empathy and the audience may
create an empathetic response in relation to what they have viewed. As an audience we cannot take
the

Feminism In Powers Of Horror
Julia Kristeva is a Bulgarian–French philosopher, psychoanalyst and feminist writer. Her work on
abjection gives an engaging insight into human culture in terms of it's relationship to larger
overarching power structures. In Powers of Horror, Kristeva argues that the oppression of woman in
patriarchal societies is constructed through fear of the abject. "The tremendous forcing that consists
in subordinating maternal power (whether historical of phantasmic, natural or reproductive.)"
(Kristeva, 1982, p.91) The abject refers to the human reaction of revulsion to the threat of
breakdown between the subject and object, the self and other. The border which separates nature and
culture, between human and non human. "The abject confronts us, on one ... Show more content on
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"For the concept of the monstrous feminine, as constructed within/by a patriarchal and phallocentric
ideology, is related intimately to the problem of sexual differences and castration." (Creed, 1993,
p.2) Creed takes an interesting approach to Kristeva theory of abjection and Freud's theory of
castration and applies it to horror film. Taking Kristeva's theory of the abject and the archaic mother,
she constructs monstrous representations of the abject woman. The monstrous womb which is the
representation of mans fear of woman's maternal functions. "Fear of the archaic mother turns out to
be essentially fear of her generative power. It is this power, a dreaded one, that patrilineal filiation
has the burden of subduing." (Kristeva, 1982, p.77) Freud argued that woman terrifies because she is
castrated. "Castration fear plays on a collapse of gender boundaries" (Creed, 1993, p.54) She
suggests, that Freud misread Han's fear in the Little Hans and that Han's viewed his mothers as the
castrator not his father, that his mother's lack of phallus is seen not as a castrated organ but that of a
castrating organ. The mother–child border is entangled in the complex and multi–faceted image of
the castrating mother. According to Freud, man fears that of the mother as castrated and as that of
the cannibalistic all devouring mother. "Construction of a patriarchal ideology unable to deal with
the threat of sexual differences as it is embodied in the images of the feminine as archaic mother and
is seen as the castrated mother." (Creed, 1993, p.22) Kristeva suggests that the notion of the
castrated women is to ease mans fear of woman, who has the power to psychologically and
physically castrate him. The archaic mother as the monstrous womb and the castrating mother can
be used as a way of understanding the work of Mona Hatoum and AIne Phillips, both

Essay on Technologies of Seduction
Technologies of Seduction
"There can be no question of escaping the twisted logic of theoretical writing; there are only
different ways of coming to terms with it." (Shaviro 11)
Blind Beast (Masumura Yasuzo 1969), Ghost in the Shell (Ohii Mamoru 1995), and Spirited Away
(Miyazaki Hayao 2001) sustain the relation between the 'body' and 'technology': its terrific horror is
its seduction. Captured bodies cut, cybernetic bodies hacked, and fattened bodies served. These
three films all capture the viewer and take us to another place, and even in the seduction of
representation understood as events (the theory–fiction of film analyses), such films can be
understood as narratives, images, and sounds of losing the self in the moment, an ... Show more
content on Helpwriting.net ...
We respond viscerally to visual forms, before having the leisure to read and interpret them as
symbols. On the other hand, this literalness is empty and entirely ungrounded; it does not
correspond to any sort of presence. Nothing is there except the image. The film viewed does not
present objects, but merely projects them. We see images and hear sounds, but there is no substance
beneath these accidents. The film is composed only of flickering lights, evanescent noises, and
insubstantial figures. (Shaviro 26)
The seduction of film, which Shaviro takes as the prime case, is non–cognitive because it operates
before and outside of (symbolic) cognition. There is a seduction that occurs, but its nature cannot be
described, its nuances cannot be listed, and its mechanics cannot be mapped.
Miyazaki's Spirited Away tells the fantastic narrative of a suburban family that happens upon a
bathhouse for the gods and becomes trapped for what is, in bathhouse time at least, several days.
The parents become pigs after eating the wonderful food left out in the deserted restaurants and their
daughter, Chihiro, struggles to become a worker at the bathhouse. For the parents, upon arrival in
this mysterious unmarked mainstreet, the antiquated but charming shops and restaurants of this
mysterious place, one wrong turn from their suburban destination, is a charming impossibility,
something they do not try much to explain, but

Horror And The Monstrous-Feminine
Having discussed Victorian ideas of sex and gender, this paper will now focus on the monstrous
feminine in Dracula. The term monstrous–feminine itself derives from Barbara Creed's "Horror and
the Monstrous–Feminine: An Imaginary Abjection." In her text, Creed claims that every human
culture has its version of the monstrous–feminine, "of what it is about woman that is shocking,
terrifying, horrific, abject" ("Horror and the Monstrous–Feminine" 44). Creed applies this concept
onto horror movies such as Psycho ("Horror and the Monstrous–Feminine" 70) or Alien ("Horror
and the Monstrous–Feminine" 68). She also links this concept to Medusa in Geek mythology who
turns men into stone by simply looking at them (Creed, "Horror and the Monstrous–Feminine" 44).
Creed proposes that the monstrous–feminine is a man–made villain representing a male fear of
female domination in a society when that was unthinkable and ... Show more content on
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In general, she sees the abject as a figure that operates between borders such as "human and in–
human, man and beast [...] between the normal and the supernatural, good and evil" (Creed, "Horror
and the Monstrous–Feminine" 49). Above all, the abject always threatens the constructed stability
and rules of the narrative (Creed, "Horror and the Monstrous–Feminine" 49). In Dracula, the
Victorian society is full of unwritten rules and customs that dictate the public and the private life.
The female vampire seems to transgress these boundaries in more ways than one: she is supposed to
be dead but lives, she is supposed to be the angel of the house yet roams the streets and sucks
unsuspecting victims, she is supposed to be sexless but displays wantonness, she is supposed to be
passive but is active, she is supposed to be demure but acts openly aggressive towards

Analysis Of The Poem ' The Darkness Within Men ' By Steve...
12 Years a Slave positions utter beauty between and within scenes of violence and abjection to
inspire poignant reflection; frequent tranquil landscapes emphasize gruesome acts and remind us of
man's capability for despicable amorality. Though we often like to sequester slavery to a time and a
place no longer existent, it was not 19th century Louisiana that committed these heinous acts but
rather the privileged white men who occupied the territory. Louisiana landscapes are and always
will be beautiful; it is man that muddies our retrospective visions. Yet, Steve McQueen allows us to
breathe for the beauty itself often provides relief from horrific previous scenes; he simply does not
create "empty" breaks. We both reflect on the darkness within men and wonder exactly how this
beauty affects and/or represents the various characters. The jarring juxtaposition of beauty and
abjection inspires psychological introspection for we are never awarded with beauty from subjective
points of view (it is presented from anonymous angles). The cotton–picking scenes and the scene in
which Solomon rows down the river illustrate the jarring effects beauty and abjection create when
presented simultaneously. Both enforce a separation between man and nature and emphasize the
heinous through means of polar comparison, yet also tie visual beauty to the retention of hope.
Beginning with the cotton picking sequences, Steven McQueen frequently uses a wide far shot and
captures the blinding white

Stanley Pinter's Film Character Analysis
Though the present is an outcome of past contemplations and actions, Pinter does not reveal the past
as he wants the audience to think about the various possible ways in which past can influence the
present. Furthermore by leaving the interpretations open to the audience, Pinter tries to portray that
historical archives as storehouses of narratives of the past, cannot be fully relied upon, as these are
narratives written in accordance to the dictates of those in power and as such are biased in their
interpretations. As the play proceeds, Stanley, in a long monologue, tells Meg of a concert, he once
gave. The concert was a great success and Stanley gives an account of it: STANLEY: (To himself.) I
had a unique touch. Absolutely unique. They ... Show more content on Helpwriting.net ...
The physical and mental torture meted out to Stanley leaves an indelible scar in his mind and gives
birth to his great fear against all forces that coalesce to form a collective force (they) which is
immensely powerful and at the same time devastating. This paranoia is dormant till the time Stanley
is in a comfortable, secure place and surrounded by familiar, innocuous people like Pete, Meg and
Lulu. But the arrival of the mysterious Goldberg and McCann, in the boarding house galvanizes the
terror and panic in the subconscious mind and intensifies it to the extent, that Stanley vents out his
frustration by madly beating the toy drum which he gets as a birthday present (though he denies it is
his birthday) from Meg. The savagery of Stanley's reaction on receiving the toy drum is also
effected by Stanley's despair at being treated like a child by Meg. A toy drum is usually gifted to a
child. Meg gifts Stanley a toy drum as he is a musician and also because she feels the child in
Stanley will like the gift. But what she fails to understand is that by being a mother–surrogate to
Stanley, she has made Stanley dependent on her to an extent that is disliked by Stanley himself.
Stanley's disgust for the mother–er Meg and his attempt to free himself from her (abject's) clutches
is thus reflected in his uncontrolled and wild beating of the drum, gifted by

Jennifers Body Film Analysis
Feminist theories found in film is a constant reminder of why things need to change and why there
are such issues regarding gender and sexuality. These gender and sexuality issues are constantly
seen and analyzed in media and society as a whole. The film "Jennifer's Body" stars Megan Fox, a
famously known and extremely sexualized/objectified actress. "Jennifer's Body" is a horror/black
comedy film with quite a lot of gore, sex, and attractive females in the cast. This portrays the
feminist film theory ideas discussed in class. As we talked about how most films are directed toward
a heterosexual white male viewing, this film is a pure example of that. It's a horror movie with a lot
of sexualized females, a good amount of violence and gore, attractive ... Show more content on
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The way she gets to these guys is by using her sexuality and basically seducing them into being in a
secluded place with her. As she is portrayed as a popular, attractive girl, the demon causes her to eat
males that are extremely below her "standards." Basically she is seen seducing (and then eating)
guys who never would have stood a chance with her before she was possessed. So the film portrays
her changing from flirting and being sexually seductive with attractive, hyper masculine males and
once she is possessed by a demon, she is seen being sexually seductive with less attractive, less
masculine males. This film heavily portrays the feminist film theory that films are targeted and
made for heterosexual male viewers. Or in other words, to fulfill the male gaze. In "Jennifer's
Body," they clearly cast extremely well–known and objectified females for the female roles in this
movie. The film basically revolves around Megan Fox, who every guy in the film objectifies. We
see all the male characters objectifying and gazing at her, which proves that the male gaze is
prevalent throughout this film. Another thing worth noting, is the girl–girl sex scene, which seems to
be portrayed in a way that is meant for heterosexual male viewers. We see two extremely feminine,
beautiful females who kiss in a way that isn't portrayed as intimate, but rather portrayed as sexual. I
believe that this scene was added to the film in order to give more for heterosexual males to gaze

Maurice Sendak’s Where the Wild Things Are, In the Night...
Maurice Sendak's Where the Wild Things Are, In the Night Kitchen, and Outside Over There
The three titles of Maurice Sendak's famous picture book trilogy, Where the Wild Things Are, In the
Night Kitchen, and Outside Over There, name what Judith Butler calls "zones of uninhabitability,"
places of abjection that form the borders of the self as both its constitutive outside and its intimate
interior. These are dangerous places in the geography of childhood, places where the child's very life
and sense of self is threatened. More frightening still, they are present places, places that exist in the
same time that the child inhabits, rather than the once upon a mythical time of fairy tales and
legends. Hence they are places that beckon the ... Show more content on Helpwriting.net ...
However, I would not go so far as other critics have done in claiming that this developmental
narrative is the journey of a single everychild. That is abject logic indeed, since it frames itself as a
monolithic story of what constitutes a clean and proper childhood, absent particularities. No,
Sendak's characters are individuals who experience their bodies, their drives, and their desires as
their own; their boundaries and borderlands are distinctly personal landscapes wherein they act their
own particular corporeal dramas. Nor is the lesson regarding the abject monolithic across the trilogy.
Sendak's vision in the first two books involves more than a once–for–all setting of the boundaries
between self and other; the children learn the possibilities and limits of embracing alterity within
themselves, or at least of mapping the space of and for otherness as part of their own psychic
landscape. But in the third and final book, the book that signaled the end of Sendak's career as a
children's book writer and illustrator and the beginning of his work in theater, Ida's encounter with
abjection is more profound, less jubilant, and more in keeping with the general logic of abjection
under which the adult subject is constituted.
In the first book, Where the Wild Things Are, Max wants to be a "wild thing," that is, he wants to
live his body in a raw, socially unacceptable way. His mother is at first complicit

Identity In Elie Wiesel's 'Nightwood'
After reading Nightwood I have been radically altered. Not in the cliché sense where one comes
from reading a book and proclaims his or her life different, but altered in the sense where I have
been forced to confront the issue of my own identity through the text itself. The idea of the 'human
condition' which Barnes explores in the novel brings up for me more questions than answers. Do we
all suffer cruelly at the hands of this abstract notion of love? Can we reconcile, within ourselves, the
notions of love, animalism, identity and sexuality (or other cultural difference) after they are
marginalized into the realm of other? How do we step outside of an ideology produced by the
hierarchical formation and heal the wounds that we inflict on one another? For the ... Show more
Jeanette Winterson in her preface to Nightwood remarked "The language [in Nightwood] is not
about conveying information; it is about conveying meaning." It is hard to disagree with Winterson,
especially taken in the context of Barnes not being able to communicate her feelings with people
directly; it makes sense that she would communicate her feelings indirectly via her writing. In my
attempts to explain Nightwood as a whole, that is its language, and the meaning that one can take
from such a book, I find what draws me to this piece of literature aside from its complexity and
richness are the way in which its characters, Felix Volkbein, Robin Vote, Dr. Matthew O'Connor and
Nora Flood seek out one another in hopes that the one will fulfill the other's desire. For the
analytical discussion of the novel I would like to read the character Robin Vote, examine the locus
of her abject, which is that place where the meaning between Object and Subject collapses the
construction of the "I" (read: 'identity') and allows the character to experience and occupy the space
of symbolic terror as she sleepwalks in and out of Felix and Nora's

Summary Of The Language Problem By Stanley Goldman
Act II deals with the famous interrogation scene which begins with some legitimate questions but
soon a torrent of ridiculous questions are showered on Stanley. Language is used as a violent tool of
abjection by Goldberg and McCann and it serves to intensify Stanley's paranoia and lay the
foundations of his nervous breakdown. Austin E. Quigley in his article The Language Problem
suggests that, "Stanley is confronted by two visitors, who overcome his self–confidence neither by
employing silence nor by concentrating on an inefficient use of language. They verbally bludgeon
him into submission and silence by the sheer number and variety of their accusations (289).
The interrogation scene begins with Stanley initially trying to defend himself but ... Show more
In this an all–male household, there is a female character Ruth, who is also the wife of Teddy. Teddy
and Ruth are a married couple with three children and they return to Teddy's home in London after
spending six years in America– a surprise to the family who is unaware of Teddy's marital status or
that he has three sons. Ruth's past life is not clear in this play so we have to assume a few things
about her. We know for sure that she was a body model and maybe a prostitute before meeting
Teddy her husband. What makes her choose this profession in the first place is not mentioned. Was
she compelled by a flesh–peddler or poverty? Or she had willfully chosen this profession to be
sexually desired by others. The second proposition seems more realistic as towards the end of the
play she agrees to stay with Teddy's family, serve them and take up prostitution as a profession. Now
what triggers a woman to be sexually desired by males? The answer is – power. A woman who is
generally weaker in terms of physical might in comparison to males, for which she is also, treated as
an abject who is to be controlled or dominated by the patriarchal society, can exercise full control
and power over her male counterpart with the help of her sexual powers and

The Abjection Stage And The Narcissistic Stage
These are the Chora stage, the Abjection stage and the Narcissistic stage. The Chora stage covers the
first six months of an infant's life. It is a pre–linguistic stage where the infant is dominated by a
chaotic mixture of acuities, feelings and needs. It is also a stage when the infant is oblivious about
the need to distinguish itself from its mother or the world around and is fully dependent on its
mother for the gratification of its desires. This stage is followed by the stage of Abjection which
occurs from 4–8 months of age. The infant at this stage becomes conscious of the differences
between self and m/other and in a bid to develop the contours between self and m/other separates
itself from the mother. Kristeva refers to this act of ... Show more content on Helpwriting.net ...
Now the child has a clear perception of the subject, object and the abject. The subject (child)
submits himself to the prevailing rules and customs of the society, the object (other) opposes the
subject and disturbs the smooth run of things whereas the abject threatens the very identity and
wholeness of the subject. Objects can lead to either or both fascination and repulsion. When an
object is on the verge of destroying the subject's existence, it becomes an abject i.e. something to get
rid of. In a similar manner an abject becomes an object, when it is no longer a serious threat to the
subject's hegemony over its own self. In the Symbolic realm or the linguistic stage the child is
further separated from a connection with the mother as language itself finds meaning within its own
internal logic of differences. For example the meaning of the word 'hot' is understood only when we
deduce the differences while comparing it with the word 'cold'. Expanding upon this concept of
abjecting or differentiating ourselves from others, Kristeva further contends that all acts of abjection
or creating borders between the subject and the abject at the level of individuals, communities,
states, nations etc. originate from the psychic isolation prompted

Analysis Of Interview With The Vampire And Bram Stokers...
Penetration in some form is usually present in sexual activity and penetration is an overall theme
throughout both films. The penetration that takes place in Interview With The Vampire and Bram
Stokers Dracula does not take place from sex, instead, penetration comes from fangs, and yet the
tone is extremely sexual in nature. The scene in Interview With The Vampire where Le Stat brings
two women back to their home is a great example. In the scene, Le Stat bites one woman on the
breast and she squeals and moans in ecstasy. Her heavy breathing and sexual moaning make the
scene quite erotic. And when he sinks his teeth in deeper her eyes roll back in her head in passion. It
isn't until she notices blood that she becomes afraid.
But how is it ... Show more content on Helpwriting.net ...
In Bram Stokers, Dracula the scene where the character Lucy in lured outside is riddled with sexual
energy. Lucy is the quintessential archetype who is often portrayed in vampire films, young, pale
and with her breasts almost always spilling from her dress. In this scene, the night is stormy, dark
and dreadful. And Dracula in the form of a wolf lures Lucy outside, she seems to be in a trance, she
can't control her urges and finds her way to the courtyard. Here she is ravaged by this monster, the
abject beast penetrates Lucy with his fangs as she moans and exposes herself. In all regards, this
scene should be terrifying but is filled with the suggestion of sex.
Lucy is symbolic of how women who were "unclean" were viewed during the Victorian era. Lucy
was portrayed as evil and was easily manipulated. She was nothing like Mina's character who was
portrayed as the perfect Victorian woman, loyal and intelligent. But Lucy can be more carefully
examined too, she transforms in the movie from a naïve unmarried 19–year–old girl into a powerful
sexual being. Lucie's behavior was once seen as evil during Victorian times, so it seems natural that
she was the one murdered in the film and not Mina. But in the end, it is Mina they should have
feared, her intelligence surpassed their evil.
"Folklore vampires often convey important social messages in that their undead condition is
regarded as a penalty for mental, physical, or behavioral

Analysis Of The Film ' Lifeless Planet ' And Video Game...
Analysis on the Significance of Gender in the Development of Fear in Lifeless Planet The use of
fear in entertainment literature, movies, and video games reflects some of the beliefs of society at
the time. Lifeless Planet, an action and adventure platformer video game developed by Stage 2
Studios, tells the story of an astronaut whose mission to explore another planet teeming with life
goes dreadfully wrong, stranding him and separated from his crew members on the planet. To his
surprise, as he searches for his crew members, the planet appears to be a wasteland, barren and
without any sign of life until he discovers an old and ruined Soviet Russian town. As he continues
exploring, he picks up fragments of journal logs that allow him to piece together the story of what
and how the planet came to be. Along the way, he experiences dangerous threats from unknown
tree–like lifeforms, discovers the corpses of his crew members in various modes of death, and
follows the trail of a woman named Aelita who seems to be able to withstand the harsh conditions of
the planet. The longer he continues exploring, the stranger the landscape becomes and the more
danger he faces, leading him to question whether the woman is friend or foe and human or inhuman
(Lifeless Planet). In the video game, Lifeless Planet, the stereotypical roles of the male hero and
female damsel in distress and their reversal is used in generating fear which reflects how society's
views on the status of women are not

Abjection By Maria Irene Fornes
Through her dramas, Maria Irene Fornes investigates issues that concern female struggle in the male
dominated society. In her play, Fornes discuss the female suffering to achieve identity completion.
In fact, Fornes focuses on "strong female characters who are able to speak of their longing for
enlightment of their passions, or who mare political or philosophical observation" (Fornes, Creative
danger 15). She is interested in portray female characters that fight to create their identity and
challenge the domination of men over their destinies. Mala Renganathan argues that Fornes'
metaphor in her plays is "women's psyche seen as a dual component of victim / tyrant or the
oppressed / oppressor as within herself" (40).
In her theory of "abjection" Kristeva argues that "to each ego its object", and "to each superego its
object" (Approaching abjection, 1). Kristeva sees abjection as the recognition of the want whore we
find every meaning, language or desire. It is a process in ... Show more content on Helpwriting.net
...
Through the play, Julia acts as Fefu's double. In fact, Julia is Fefu's abject. Through the play, she
speaks the truth about herself and about Fefu. Gayle Austin argues that "Fefu and Julia together,
overtly bonded and overtly in conflict, mare an open statement of women's predicament in public
forum of the theatre" (The Mad Woman, 80).
While Fefu identifies herself with male view of women, Julia sees her sexuality as a source of evil.
She believes that women are sexual spirits that is why they do not enjoy sexuality, but men are not
sexual spirits that's why they enjoy sexual affairs and do not have to be punished for that. She
reveals how women are defined as sexual tools and how they are devalued.
Julia: [..........] Women's spirit is sexual...... Their sexual feelings remain with them till they die. And
they take those feelings with them to the afterlife where they corrupt the heavens .........."

Essay about Significance of the abject in Metamorphosis
Discuss the significance of the abject in Metamorphosis.
Metamorphosis is a remarkable novel that has spanned numerous themes; from alienation to the
absurdity of life. And one of the major themes is that of the abject. The abject, by definition,
describes something brought low in position or condition, lacking in courage, or simply rejected. In
short, the abject is a recurring theme throughout Metamorphosis – both literally; in the form of
Gregor's grotesque physical form, and metaphorically; in the way Gregor reacts to and is treated by
his family. Thus the significance of the abject on Gregor and his family will be the basis of analysis
in this essay.
Firstly, the physical sense of the abject is presented almost immediately in ... Show more content on
Helpwriting.net ...
The contrast between his position in life before and after the transformation was almost as marked
as the transformation itself. In this way, the physical abject is not only a cause of the social abject,
but also a symbol of it as well.
Furthermore, Gregor's descent into social and physical abjection then forces his family to change
radically in order to support themselves. In the beginning, Gregor starts off as the provider for his
family. He hates his job, but he still goes above and beyond the call of duty to give his family a
more comfortable life, even indulging the expensive endeavour of his sisters' dream of studying the
violin. However, after the metamorphosis, he is thrust into the role of a dependant – forcing his
family to take responsibility and support themselves. His sister steps up to the plate in the beginning,
giving him a selection of foodstuffs to find what he likes and even cleaning up after him. His parents
are still in denial at this point, so much so that they refuse to see him at all. But as time goes by, his
family begins to accept the situation and even try to help Grete out. His father produces some money
from his previous failed business venture and his mother and sister try to make life more
comfortable for Gregor. Grete in particular changes the most noticeably; Gregor himself notes at the
beginning that her life up till that point had been "enviable", consisting of "wearing nice

Abjection In Barbara Creeds's Horror And The...
During the challenging teenage years, certain adolescents find their physique abject and experiment
with their own bodies, sometimes even inflicting self–harm. Such abjection is portrayed in Ginger
Snaps (2000). In the opening scene, a school teacher is lost for words when two sisters, Ginger and
Brigitte Fitzgerald (Katherine Isabelle and Emily Perkins) are exposed as freaks in a montage of
pictures that they themselves provide for a class project. In Horror and the Monstrous–Feminine,
Barbara Creeds suggests that the use of such pervasive images of transgressive femininity as well as
monstrosities in such horror films brand this genre "works of abjection". Creeds defends her
ideology referring to Julia Kristeva's Powers of Horror detailing ... Show more content on
Helpwriting.net ...
Women have an urge to expel "this thing" from our bodies that doesn't belong there. Even though it
is natural, almost as an impulse, women are disgusted by it, repulsed in an inherent way. This film
betrays normal female sexuality by urging the viewer to turn this natural moment into a violent and
monstrous feature which is repulsive. The monster, in this case, is nominally portrayed as the
werewolf related to the stereotypical image depicted since the early days of cinema. In Ginger
Snaps, the monster is not really the werewolf but the Monstrous–Feminine, Ginger and Brigitte
dismayed by the internalized problems affecting most modern teenage girls, who describe
menstruation as "the curse". Ginger Snaps reveals how these two teenage girls are repulsed by their
body's own natural flux by associating their menstruations with acts of terror. Just by looking at the
film's opening title, with its montage sequence of various images that the girls have created for a
school project that represents them playing dead, Bridgette and Ginger have constructed their own
death in a glorious and gory

Comparing Lawson's Short Stories: Lawson, Patterson And...
Question 1 – Settler literature of 19th century Australia often attempted to come to terms with a
climate and landscape that was alien and deeply unfamiliar. This writing produced what we today
refer to as 'the Australian Legend'. Discuss how the different 19th century authors that you have
studied in this course wrote about the bush and identity. Lawson, Patterson and Baynton view the
bush and identity through different lenses dependent upon their experiences and agendas. Lawson is
a realist with new unionism views aligned with those of The Sydney Bulletin the republican
periodical for whom he wrote (Lee 89). Lawson uses his short stories to draw attention to the divide
between social classes and shows the bush to be a harsh and isolated existence only suitable to men
of a certain disposition. In contrast to this is Patterson's romanticised view of life in the bush is
aimed at an emerging middle class and with ... Show more content on Helpwriting.net ...
In Dead Europe the abjection and disgust escalate as the story unfolds and not all readers are able to
continue to read the book in its entirety. It opens with Issac setting very clear boundaries during his
encounter with the sex worker and the story ends with another encounter with a sex worker only this
time it appears all boundaries have disappeared as Issac murders and consumes the body. Both
Picnic at Hanging Rock and Lantana have more of a simmering undertone of abjection rather than
an escalation until the viewer can no longer stand it. Picnic at Hanging rock uses the sexualisation of
the young girls to disturb the viewer at it seems they are being offered to the rock. Lantana also uses
the landscape to unsettle the viewer however, it is more from the point of view that 'we' do not
belong here and the landscape will consume us and deliver the land back to the right

Pathology Of Pornography
CHAPTER 3 'Abjection' as a Pathological Source of Violence in Pinter It is a truth, universally
accepted, that man is a social animal. Man cannot live alone. This characteristic of man along with
his capacity to think, communicate and achieve his goals in an astute manner separates him from
other animals. Man is dependent on others from his birth until the time of his death for the
fulfillment of his physical and emotional needs. The primitive men formed associations on the basis
of common likes, dislikes, practices, customs, and most importantly on the basis of the inherent
sexual drive to copulate with the opposite gender. These associations led to the formation of a
society which as defined by R.M. Maciver is "a web of social relationships" (Society: An
Introductory Analysis 5). Thus society does not just comprise individuals, but it also includes the
multifaceted patterns of the interactions and relationships that arise among them. An important fact
to be noted here is that man is not for the society, but society is for man and for a society and its
members to flourish and progress, there is a need for favorable social, political and economic
conditions. Any sharp deviation from these favorable conditions leads to chaos and ultimately the
disorganization of the society. Since it is man who forms his associations and relationships and on a
larger level the society, it is very important to understand the working of the human mind and its
impact on the functioning of the

Postmodersm In Gothic
In his seminal study Gothic, Botting compares Gothic literature in the eighteenth, nineteenth and
twentieth centuries with respect to their different ways of addressing terror and horror. He notes that
the novel of terror dominated the eighteenth–century gothic writings for its transgressive efficacies.
Female Gothic writers examine the terrors of patriarchal oppression while verbalizing the heroine's
anxiety about her entrapment into the confines of domesticity. In other words, the gothic heroine is
plunged into a state of terror stimulated by her own imagination yet, reflected her social reality.
Although the heroine engaged herself in a subversive journey to flee the terrors of the social order,
the gothic genre at that period espoused a restoration and revitalization of the normalised order
through the exorcism of the threatening and vicious characters, as Botting writes: "[V]illains are
punished; heroines well married" (Gothic 10).
The nineteenth–century female gothic witnessed a shift towards the ... Show more content on
Helpwriting.net ...
Firstly, while investigating it practicality, postmodernism revisits the belief in objective reality. It
cuts with the consistent oneness and uniformity of Truth/Reality which is stripped of its hierarchical
stance, giving much leeway for the proliferation of multiples realities and the plurality of new
stories, new texts and new fictional worlds constructed by the characters. These nascent narratives
uncover the laden discourse behind the creation of history which is constructed on the exclusion of
the peripherized and inclusion of the dominant for the sake of homogeneity. Postmodernism thus,
while interrogating the tenability of objectivity, divulges the unreliability of authentic
representations. Accordingly, as the centre no longer holds, Reality is relativized Truth is

Regan's Relationship With Her Mother In The Exorcist
In the film industry, women act as the devil's portal because they are deemed weaker compared to
the men – in The Exorcist, it is Regan. According to a psychological interpretation of the film by
Blatty and Friedkin, Regan's parents are divorced, she is jealous of Burke, she's often rejected by her
dad (clover, 1992:71) and that the relationship with her mother was fine and great before that. With
that being said, Regan's relationship with her mother is why she was possessed. After the
possession, her attitude towards Chris changed as the act of rebel can represent the fact that she
wants to remain close to her mother. 'The deep bond between mother and daughter is reinforced in
the text at a number of

The Bluest Eye, By Toni Morrison
The Bluest Eye by Toni Morrison, presents the reader with some of the strong racial imbalances
present in the African American communities in the United States. The novel, The Bluest Eye,
addresses many themes such as, feminism, rape culture, repetition in rupture, abjection, oppression,
racism and the innocence of youth (Morrison 1970). The evident issue in the novel is the way that
the African American people oppress not only themselves but others, to the standards of the white
American standards of things such as beauty. The characters, Pecola and Pauline, are the major
characters in the novel and are, as written by Morrison (1970), the ciphers of the way African
Americans treated each–other and themselves in a time of racial oppression ... Show more content
on Helpwriting.net ...
For the community in which the Breedloves find themselves, light skin is better and blue eyes
makes you beautiful (So also thought and believed by Pecola). In their society, the Black women
who look the most beautiful have an almost white skin (Inggris 2009:10). According to Inggris, the
character Maureen Peel is envied less for her wealth than for her skin colour. Just as Pecola tries to
conform and assimilates values of self–worth from the white world, Pauline receives her education
in self–hatred from the films that she watches, where she is introduced to White physical beauty.
Pauline works for the Fishers, a white family, where she adopts their lifestyle and values because for
her they are more meaningful than her

Essay On Cancer As A Monster In David Garland's Imitation '
Penetrable Boundaries and Mutations: Cancer as a Monster in David Garland's Annihilation David
Garland's Annihilation (2018) displays various forms of abjection through the film's representation
of biological mutations that take over the physical and psychological components of the human
body. The film's representation of a pathogenic alien species and its ability to mutate cells is not
unlike John Carpenter's The Thing, as both films form allegories for the spread of a disease
throughout society. In Annihilation this disease takes the form of a malignant, dome–shaped region
called the "Shimmer," which acts like a cancerous tumor on Earth, threatening to mutate the
biological structures and components that form humanity. In my essay, I will utilize Julia Kristeva's
excerpt, "Approaching Abjection," and Edward Guerrero's AIDS as Monster in Science Fiction and
Horror Cinema, as the frameworks in which to explore Annihilation and discuss how the film
represents the relevant and eminent threat of cancer within today's society. In addressing the forms
of abjection throughout the film, I will argue for the inability to separate the film's allegory for
cancer as an ... Show more content on Helpwriting.net ...
Guerrero continues to highlight the main driving fear throughout the film as the inability to detect
who has been replicated by the Thing. In Annihilation, there are various instances in which the
Other not only breaks down representations of bodies rendering them empty shells of their past
selves but also depicts what Guerrero calls, "cell–by–cell assimilation" of their

Freudian And Lacanian Psychoanalysis, By Barbara Creed
INTRODUCTION
Psychoanalytic film theory, which is derived from Freudian and Lacanian psychoanalysis, appears in
the discussion of cinema early in the 1970s. As the conjunction of psychoanalysis and film theory,
scholars use this theory for textual analysis and different elements like the monstrous–feminine,
mirror stage identification, and the Oedipus complex are concluded and developed. To reexamine
the mother–child relationship, I will argue that these key elements of psychoanalytic film theory are
useful to understand the psychic activities of protagonists of Black Swan and The Babadook.
Additionally, they provide some evidence to explain the mode of how a mother gets along with her
child. I will begin by discussing the term ... Show more content on Helpwriting.net ...
Based on this idea, Barbara Creed (1993) concluded the concept of monstrous–feminine as the
"shocking, terrifying, horrific, and abject" (Creed 1993, 1) female image which is also commonly
associated with mothering functions. We can find that the abjection occupies the whole film The
Babadook.
For Amelia, the loss of her husband on the birthday of her son becomes a powerful abjection which
she tries to deny and avoid. However, every time Amelia struggles to reject it, exclude it and make it
'other' (Buerger 2017, 35), the significance and the effects brought by the trauma become profound.
Thus, the monstrous feminine is fully revealed when Amelia has to surrender to mister Babadook,
the embodiment of the abjection. One of the scene shows Amelia tries to pull a tooth out of her
mouth. A series of close–up of Amelia's facial expression and hand movements indicate the struggle
she goes through when the Babadook takes up her. The only sound is Amelia's painful cry, which
also shows her cruelty and determination. In relation to several scenes before, Amelia has a
toothache when she eats something with her son. Working the same as a viscera, the tooth Amelia
pulls out symbolize her son Samuel, and the action of pulling the tooth out represents Amelia
refuses to play the maternal role and wants to get rid of her son. Besides showing Amelia in the
front, a few

Crash And Rant: A Protagonist Analysis
The narrative surrounding protagonists are typically constructed as one of the hero or anti–hero
working against a singular, group, or larger societal antagonist to defend or rebuild a peaceful, stable
way of life. Some authors are not so entranced by this typical mode of protagonist interworking and
subversively challenge the notions of what being a protagonist is, and especially protagonists (so–
called) who transgress the social taboos. In the case of Crash by J. G. Ballard and Rant: An Oral
History of Buster Casey by Chuck Palahniuk, the central protagonists are outcasts in terms of their
semblance to a social status quo, while specifically being stylized to, in purposefully uncomfortable
ways, challenge taboo notions of abjection in terms ... Show more content on Helpwriting.net ...
Fluid signification – that so readily marks this insufficiency in identity or moves beyond self's
societal bounds – in Crash and Rant are a part of a common transgression in authorial narrative
form, an abjection posed to characters and readers alike through engagement with taboo acts, and
the social subversions said acts entail. While Crash remains more fixated on its presentation of
transgression of taboos in James and Dr. Vaughan's fetishization of vehicular accidents, Rant applies
abjection more broadly between groups and individuals around the common discussion of the abject
iconoclast, Buster "Rant" Casey. At the core of all this refuse, excretion, death and isolation lies the
true relational core of abjection. Crash addresses this by hyperbolizing obsessions with car crashes
drawing attention to the dangerousness of a life too integrated with technology, to fearful of death
whilst hypocritically craning one's neck to see what ill fate has befallen car accident victims. As a
dystopian novel, Rant overtly criticizes the policing power structures and emphasizes outcast
identities, whilst showcasing a hyperbolic focus on a lived experience over one force–fed by society
at large. A subject's place and experience in relation to norms of power that delineate the boundaries
of the forbidden, horrific and socially acceptable; systems that, when challenged by narrative
characterizations, are exposed to the criticism of and deference to these systems of power that police
normative

##ifism In Virginia Woolf'sThoughts On Peace In An Air Raid?
Virginia Woolf maintains her pacifism as an arm of "thinking," rather than physical fighting. She
writes in her essay "Thoughts on Peace in an Air Raid, "unless we can think peace into existence
we...will lie in the same darkness" (Woolf 242). In arguing the same point, she mentions that "there
is another way of fighting for freedom without arms; we can fight with the mind" (Woolf 242)
which indicates a pacifism that is not tolerant of violence in any capacity. Instead her essay argues
that violence in the hearts of men is a result of the "subconscious Hitlerism that holds us down. It is
the desire for aggression; the desire to dominate and enslave" (Woolf 243). Woolf argues primarily
that women are simply not directly responsible for war because "there is no woman in the Cabinet;
nor any responsible post" and that "all idea makers who are in a position to ideas effective are men"
(Woolf 242). She is, however, is quick to dispel the idea that women must, as a result, "bury the
head in the pillow...and cease this futile activity of idea–making" (Woolf 242). Woolf calls women
to action within the arenas that they operate, in this case the "tea–table" (among others) and stresses
that women must think more even though they are not able to effect broad change based upon their
thinking. Woolf's argument is to fight mentally; to "think against the current, not with it" (Woolf
243). In her essay, Woolf agrees with Freud's notion of "Thanatos" being the instinct that drives men
to violence. In her essay, she quotes those who name Hitler as being "aggressiveness, tyranny, the
insane love of power made manifest" (Woolf 243). Both Woolf and Freud recognize the inherent
idea that men are driven by instinct; in Woolf's essay that is subconscious Hitlerism of Englishmen,
and in Freud's letter that is Thanatos. War, aggression and bloodlust provide men with an outlet for
these "ancient instincts, instincts fostered and cherished by education and tradition," (Woolf 244) as
Woolf writes. Freud would agree along these lines, and may go further to say that these instincts are
a necessary part of the 20th century, so long as national identity still exists. This idea is made clearer
when Freud writes that, "Moreover, all forms of war

Comparing O 'Connor's A Good Man Is Hard To Find'
In "A Good Man Is Hard to Find", O'Connor uses a character to play a God–like role in the
judgment of others despite having her own moral ailments. A comparison to this story would be
Bruce Almighty, in which the main character, Bruce, plays the role of God consequently for his own
ailments. Both authors also use their ability of storytelling to show readers a representation of
abjection and jouissance. Both the grandmother and Bruce play a god, whether literally or
theoretically, in their actions. The grandmother is seen to be judging the various people within her
life. As she encounters everyone, she judges them to be good based on their moralities, though she
struggles with handling her own ailments of lying, complaining, and using her family. She holds this
belief that she should be the one to judge others. In the movie Bruce Almighty, Bruce questions god
and his ability to grant blessings due to being fired from his job, and in return, receives all his
powers to test him. Furthermore, both characters use their god–like positions to try to influence
others for personal gain. While the grandmother tries to influence the Misfit into believing God and
telling ... Show more content on Helpwriting.net ...
They believe that they are both entitled to their positions and lacked formal compassion not only for
people but even for otherworldly objects. They both use their ego to achieve what they want and
come to unfortunate circumstances to learn the meanings of being moral, compassionate individuals.
Both authors may have used these examples and themes for their stories to teach readers what being
selfish can do for one another, and that gaining clarity and peace comes from being understanding,
forgiving, and thankful. They both demonstrate this through the clear development of distress and
poor morals in both characters, receiving a life–changing experience, and coming out with different
moralities, views, and

The Uncanny, A Freudian Term, By Sigmund Freud
The "uncanny", a Freudian term, is used to describe a situation or feeling that feels familiar and
foreign at the same time. Through the writings and ideas of Ernst Jentech, and Sigmund Freud, it is
defined. Between them the uncanny is described as "...intellectual uncertainty; so that the uncanny
would always, as it were, be something one does not know one's way about in. The better oriented in
his environment a person is, the less readily will he get the impression of something uncanny in
regard to the objects and events in it." In Freud's essay he states that "the "uncanny" is that class of
the terrifying which leads back to something long known to us, once very familiar". Being part of
the terrifying, the uncanny is undefinable as ... Show more content on Helpwriting.net ...
Predominantly known for his sculpture, installation, video, neon, and performance; his subject a
strong focus on the human and an artist's condition. Themes of language, process and the body
influenced by the dichotomy between psychological and physical states. His work generates a flood
of mixed emotions as he explores extreme differences that we as human beings experience and
relate with, creating a commonality that automatically connects with anyone participating in
Nauman's work. The uncanny and the abject are two words that could be used when talking about
and experiencing some of Bruce Nauman's works. The unsettling nature of Nauman's work forces us
to look at things that maybe we try not to. His video works tend to be focused on the body as a
material and the truths which are told from this. In his video, Poke in the Eye/Nose/Ear 3/8/94 Edit
(fig.2), Nauman himself does exactly what the title says. The video is zoomed in on the specific
facial feature and projected large onto the wall; it is in slow motion and on loop. By zooming in
Nauman eradicates interpretations of gender and race and therefore only revealing the bodies truths
in this uncanny action of poking oneself in the eye. The video itself is a little irritating and unsettling
to watch, as we can only imagine this action being performed on our ourselves but it is amplified by
the slowed down time of the video and its

Essay on Walt Whitman's Song of Myself
Walt Whitman's Song of Myself
This paper deals with Walt Whitman's "Song of Myself" in relation to Julia Kristeva's theories of
abjection––my paper does not point to abjection in the text, but rather the significance of the
abscence of abjection. This abscence, looming and revolting, arises from Whitman's attemt to
refigure a conception of sublimity which delimits the material which can trigger the sublime
moment. Whitman's democracy of the sublime is inclusive of those figures on the American
landscape, their lives and voices, which are functionalized into his world. This paper employs the
theories of George Lukacs and Julia Kristeva allow the unearthing of the archeological layers of
Whitman's text.
The most literal adjective ... Show more content on Helpwriting.net ...
It lies there, quite close, but it cannot be assimilated. It beseeches, worries, and fascinates desire,
which, nevertheless, does not let itself be seduced."[1]
The strange elegance of this specter looms in the relief, in the archaic layers of Song of Myself. It is
beyond the foregrounded inversive space––at times utopic and sublime, the space is permeated with
universal brotherhood, happiness, the "compelled–sentimental"–– that I attempt to delve into, that
source from which generates the repulsive, hidden quivering of a text which, though cast out and
forced into absence, looms in the shadowed relief. The edification of his text and of his readership is
attempted through the construction of an inversive space which refigures the sublime: the apex of
the "cultured." I have chosen those moments in the text in which the poet nears the threshold of
bordering abject in order to construct his sublime utopian vision. It is here, this marked refigurement
where ecstasy occurs, where material which triggers the sublime is the signal of another text; a
repulsive reading looms from the absence of abjection
An invocation of the self begins Song of Myself, positioning the text as an edification of the
American readership: "I celebrate myself, and sing myself, And what assume you shall assume, For
every atom belonging to me as god belongs to you" (lines 1–3). Thus Whitman's work joins with the

Vision And The Act Of Looking
The Ocular & Spectatorship
Vision and the act of looking is an important and recurring theme in many horror films. In early
gothic literature, such as in Guy de Maupassant 's Le Horla, the author presents vision as definitive
and universal proof and stresses the importance of seeing as well as the act of showing gore. As a
society, we are routinely told 'seeing is believing ' in the wake of any paranormal or supernatural
phenomena, placing weight on the tangible. However, as science and technology have progressed
the faithfulness of visual representation is increasingly throw into question, which in turn has led to
societal anxiety. A few years earlier, video footage of an event rarely had its validity questions,
whereas now it is easy ... Show more content on Helpwriting.net ...
Not only does it allow the viewer to 'fill in the gaps ' and imagine what the paranormal entity may
look like but the greatest factor that allows for the audiences anxiety is that they are constantly
waiting for a revealing, which never materializes. Some argue that there is a greater fear than the
fear of the unknown. As in Tony Perrello 's argument, the viewer experiences more horror watching
the victim be attacked by the monster than being confronted by the monster itself. It has been noted
that the audience will mirror the reactions of the character on screen, screaming when they scream
or shielding their eyes when the victim on screen does, regardless of the role of the character. As in
Hitchcock 's Strangers on a Train (1951), the director draws the audience into empathizing with the
evil character in a race against time to commit murder or James Whale 's portrayal of Frankenstein 's
monster in 1931. Laura Mulvey also speaks of the spectatorship of siding with the killer in Peeping
Tom (1960). The audience simultaneously empathizes with the victims on the screen while
occupying the killer 's point of view.
The Uncanny (Sigmund Freud)
Sigmund Freud coined this term when trying to explain something strangely familiar yet unfamiliar.
It speaks to seeing or experiencing new but also takes us back to our own psychological past or
something within the material world. It is suddenly recognizing something that seems unfamiliar
and in fact, has an identity

Abject Design: a Psychoanalytic/Structuralist Analysis of...
––––––––––––––––––––––––––––––––––––––––––––––––– Abject Design
––––––––––––––––––––––––––––––––––––––––––––––––– A psychoanalytic/structuralist analysis
of Julia Kristeva's "The Old Man and the Wolves" Julia Kristeva's The Old Man and the Wolves
details the gradual degeneration of the fundamentally corruptible community of Santa Varvara. As
described by the novel's namesake, the Old Man Septicious Clarus, in terms of singularity, morality
and–both metaphorically and palpably–humanity, each individual's marked decay is seen as the
horrific transformation into a wolf with regard to both physical and psychological form. While the
Old Man, he denotative of a purer set of morals, remains in adamant opposition to the wolves–which
... Show more content on Helpwriting.net ...
With these two individual devices, any character can be systematically created. By contrast to
Lacan's use of "the symbolic," Kristeva employs a semiotic–based design which puts description in
the scope of "an emotional field... which dwells in the fissures and prosody of language rather than
in the denotative meanings of words," that give "the symbolic" a rather rubrical construction. "In
this sense, the semiotic opposes the symbolic, which correlates words with a stricter, mathematical
sense" (McAlister). In constructing her characters through description and imagery, Kristeva
emphasizes a focus on the semiotic specifically through a series of metonymic elements that,
combined, provide each character a unique conglomerate of a profile. The Old Man is described
early on in the following way: "Fancy old stick–in–the–mud like him enjoying that inspired,
suggestive, flesh–and–blood, milk–chocolate voice...his body, in its shantung suit, was already
heading for the sweet–smelling oleanders on the other side of the garden, for the darkened lobbies
and their shrouded furniture" (22,25). The metonymic and synecdochic descriptors, such as "old
stick–in–the–mud" and "his body in its shantung suit" in place of Septicious's name offer a more
complete metaphor that stimulates emotional responses and definitions marked by imagery within
the reader's mind as opposed to the less invocatory adjectival descriptors that offer signature to

Christine Wilkie Stibb
Christine Wilkie Stibb's The Outside Child In And Out Of The Book examines the construction of
the child subject within a text, and contextualizes that construction by connecting to historical,
social and political events outside the text. She does this by taking real–world (ie: historical, social
and political) instances and connecting them to each book. Each chapter focuses on a different
construction of the child outsider: outsider (the child as subject and the creation of subjectivity);
displaced (refugees and asylum seekers); erased (subjecting the child's body to public gaze and
erasure of his or her identity); abject (those expelled from the hierarchies); unattached (loss of
parents and idea of home, moving from one place to another, ... Show more content on
Helpwriting.net ...
This chapter explores the stories of immigrants and refugees, or other asylum seekers. She explains
"they are works of literature, not case histories, but they do more than exploit for the purposes of
entertainment the sorts of distressful situations in which some real children find themselves.
Literature at its best is what most convinces us of the realities of other people's identities and
selfhoods, so that these novels, responsibly written and attempting authenticity, act as powerful and
memorable case histories which are as true as, or truer than, factually accurate ones. (26) Upon
looking at the UNCRC– mentioned above– Wilkie–Stibbs examines the westernized and
industrialized construction of the child and childhood that anyone under eighteen is a child, and they
shall be protected (24). However, in historical documents references, including the French
Revolution's 1795 Declaration of the Rights of Man and the Citizen, and bringing up the idea of
child labor and child soldiers, each nation has its own conception of what it is to be a child. Rachel
Anderson's The War Orphan, Derek Gregory's The Colonial Present, Beverley Naidoo's The Other
Side of Truth, Elizabeth Laird's Kiss the Dust, Benjamin Zephaniah's Refugee Boy, Elizabeth
Lutzeier's Lost for Words, and Julia Alvarez's How the

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