333:(BDD), the role of the other – actual, imagined or fantasized – is central, and ambivalence about the body, inflated by shame, is the key to this dynamic. Parker noted that individuals suffering from BDD are sensitive to the power, pleasure and pain of being looked at, as their objective sense of self dominates any subjective sense. The role of the other has become increasingly significant to developmental theories in contemporary psychoanalysis, and is very evident in body image as it is formed through identification, projection and introjection. Those individuals with BDD consider a part of their body unattractive or unwanted, and this belief is exacerbated by shame and the impression that others notice and negatively perceive the supposed physical flaw, which creates a cycle. Over time, the person with BDD begins to view that part of their body as being separate from themselves, a rogue body part – it has been abjected.
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being similar to abled people and also different, is the person by whom the abject exists. People who view this individual react to that abjection by either attempting to ignore and reject it, or by attempting to engage and immerse themselves in it. In this particular instance, Frances claims, the former manifests through the refusal to make eye contact or acknowledge the presence of the personal with a disability, while the latter manifests through intrusive staring. The interpersonal consequences that result from this are either that the person with a disability is denied and treated as an 'other' – an object that can be ignored – or that the individual is clearly identified and defined as a deject.
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and suffering in a way not typically experienced by hospital administrators and leaders. Nurses must learn to separate themselves and their emotional states from the circumstances of death, dying and suffering they are surrounded by. Very strict rituals and power structures are used in hospitals, which suggests that the dynamics of abjection have a role to play in understanding not only how anxiety becomes the work of the health team and the organization, but also how it is enacted at the level of hospital policy.
340:, who experience the subjectification of being abject in a similar yet different way to those with BDD. Abject, here, refers to marginally objectionable material that does not quite belong in the greater society as a whole – whether this not-belonging is real or imagined is irrelevant, only that it is perceived. For those with social anxiety, it is their entire social self which is perceived to be the deject, straying away from normal social rituals and capabilities.
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the consequences of social and organizational abjection. In such studies the focus is often placed upon a group of people within an organization or institution that fall outside of the norm, thus becoming what
Kristeva terms "the one by whom the abject exists," or "the deject" people. Institutions and organizations typically rely on rituals and other structural practices to protect symbolic elements from the
455:(total artwork) led to his setting up the radical theatre group, known as the Orgien-Mysterien-Theater. The group used animal carcasses and bloodshed in a ritualistic way. Nitsch served time in jail for blasphemy before being invited to New York in 1968 by Jonas Mekas. Nitsch organised a series of performances which influenced the radical New York art scene. Other members of the
241:) are able to stay in "shit creek" (an undesirable setting or situation) and "diver... flows" of these "creeks", thus claiming their rough settings' "limnality" (being in a border situation or transitional setting) and their own "abjection" (having "abject bodies" with health problems, disease, etc.) as "sites of symbolic empowerment and agency".
229:"...explor the psychosocial and psychosexual limitations of young sub/urban characters in relation to the imaginary and socially constructed boundaries defining...self and other" and "opening up" new "limnal spaces" where the concept of an abject human body can be explored. Brooks states that the marginalized characters (in
130:, being forced to face it is an inherently traumatic experience, as with the repulsion presented by confrontation with filth, waste, or a corpse – an object which is violently cast out of the cultural world, having once been a subject. Thus the sense of the abject complements the existence of the
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sought to make the concept more social in order to analyze abjection as a social and lived process and to consider both those who abject and those who find themselves abjected, between representation of the powerful and the resistance of the oppressed. Tyler conducted an examination into the way that
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space. Kristeva claims that within the boundaries of what one defines as subject – a part of oneself – and object – something that exists independently of oneself – there reside pieces that were once categorized as a part of oneself or one's
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Exploration has also been done into the way people look at others whose bodies may look different from the norm due to illness, injury or birth defect. Researchers such as
Frances emphasize the importance of the interpersonal consequences that result from this looking. A person with a disability, by
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Organizations such as hospitals must negotiate the divide between the symbolic and the semiotic in a unique manner. Nurses, for example, are confronted with the abject in a more concrete, physical fashion due to their proximity to the ill, wounded and dying. They are faced with the reality of death
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literature on abjection has attempted to illuminate various ways in which institutions come to silence, exclude or disavow feelings, practices, groups or discourses within the workplace. Studies have examined and demonstrated the manner in which people adopt roles, identities and discourses to avoid
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groups, such as women, unwed mothers, people of minority religious faiths, sex workers, convicts, and poor and disabled people. From a deconstruction of sexual discourses and gender history Ian McCormick has outlined the recurring links between pleasurable transgressive desire, deviant categories of
149:, the concept of something being "un-home-like", or foreign, yet familiar. The abject can be uncanny in the sense that we can recognize aspects in it, despite its being "foreign": a corpse, having fallen out of the symbolic order, creates abjection through its uncanniness – creates a
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The roots of abject art go back a long way. The Tate defines abject art as that which "explore themes that transgress and threaten our sense of cleanliness and propriety, particularly referencing the body and bodily functions." Painters expressed a fascination for blood long before the
Renaissance
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developed by the firm becomes shared throughout a community. That event or circumstance comes to be interpreted and viewed in a singular way by many people, creating a unified, accepted meaning. The purpose such strategies serve is to identify and attempt to control the abject, as the abject ideas
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However, Kristeva created a distinction in the true meaning of abjection: "It is thus not the lack of cleanliness or health that causes abjection but what disturbs identity, system, and order. What does not respect borders, positions, rules. The in-between, the ambiguous, the composite." Since the
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From
Kristeva's psychoanalytic perspective, abjection is done to the part of ourselves that we exclude: the mother. We must abject the maternal, the object which has created us, in order to construct an identity. Abjection occurs on the micro level of the speaking being, through their subjective
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One such method is that of "collective instruction," which refers to a strategy often used to defer, render abject and hide the inconvenient "dark side" of the organization, keeping it away from view through corporate forces. This is the process by which an acceptable, unified meaning is
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By bringing focus onto concepts such as abjection, psychotherapists may allow for the exploration of links between lived experience and cultural formations in the development of particular psychopathologies. Bruan Seu demonstrated the critical importance of bringing together
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contemporary
Britain had labelled particular groups of people – mostly minority groups – as revolting figures, and how those individuals revolt against their abject identity, also known as marginalization, stigmatizing and/or social exclusion.
524:. Kristeva herself associated aesthetic experience of the abject, such as art and literature, with poetic catharsis – an impure process that allows the artist or author to protect themselves from the abject only by immersing themselves within it.
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behaviour and responses to body fluids in 18th and 19th-century discussions of prostitution, sodomy, and masturbation (self-pollution, impurity, uncleanness). The term space of abjection is also used, referring to a space that abjected things or beings inhabit.
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Dryden, Ussher & Perz, "Young women's construction of their post-cancer fertility" (2014); Parker, "Critical looks: An analysis of body dysmorphic disorder" (2014); Schott & Sordengaard, "School bullying: New theories in context"
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monstrous representations of the female resonate with the abject archaic figure of the mother. Bodily dismemberment, forcible impregnation, and the chameleon nature of the alien itself may all be seen as explorations of phantasies of the
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Kristeva, "Powers of Horror" (1982), p. 15; Spittle, "'Did this game scare you? Because it sure as hell scared me!' F.E.A.R., the abject and the uncanny" (2011); Oliver, "Psychoanalysis, aesthetics, and politics in the work of
Kristeva"
283:. Through the controlled release of information and belief or reactionary statements, people are gradually exposed to a firm's persuasive interpretation of an event or circumstance, that could have been considered abject. This
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developed the idea of the abject as that which is rejected by or disturbs social reason – the communal consensus that underpins a social order. The "abject" exists accordingly somewhere between the concept of an
142:, specifically those of defilement, to attempt to maintain clear boundaries between nature and society, the semiotic and the symbolic, paradoxically both excluding and renewing contact with the abject in the ritual act.
275:. Both the organizational and interpersonal levels produce a series of exclusionary practices that create a "zone of inhabitability" for staff perceived to be in opposition to the organizational norms.
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Studying abjection has proven to be suggestive and helpful for considering the dynamics of self and body hatred. This carries interesting implications for studying such disorders as
41:, where she describes subjective horror (abjection) as the feeling when an individual experiences or is confronted by the sheer experience of what Kristeva calls one's typically
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often focuses on young adult characters with "abject" bodies that are deteriorating and characters facing health problems. For example, the male and female lead characters in
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The abject is a concept that is often used to describe bodies and things that one finds repulsive or disgusting, and in order to preserve one's identity they are cast out.
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ideas of self-surveillance and positioning in discourse with a psychodynamic theorization in order to grasp the full significance of psychological impactors, such as
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215:, Gordon Buchanan and Cynthia Lamonde, both have diseased bodies, with Cynthia facing skin that breaks out in rashes. Karen Brooks states that Clare Mendes'
134: – the representative of culture, of the symbolic order: in Kristeva's aphorism, "To each ego its object, to each superego its abject."
172:, a fictionalised account of his wanderings through Europe in the 1930s, wherein he claims as a criminal outcast to actively seek abjections as an
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is the state of being cast off and separated from norms and rules, especially on the scale of society and morality. The term has been explored in
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Kristeva's concept of abjection is used commonly to analyze popular cultural narratives of horror, and discriminatory behavior manifesting in
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Sjhölm, Cecelia (2009). "Fear of
Intimacy? Psychoanalysis and the Resistance to Commodification". In Oliver, Kelly; Keltner, S. K. (eds.).
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movement that the fascination with transgression and taboo made it possible for abject art, as a movement, to exist. It was influenced by
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who were all included in the 1993 Whitney show. Other artists working with abjection include New York photographers,
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cited in Dryden, Ussher and Perz, "Young women's construction of their post-cancer fertility" (2014), p. 1343.
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Sorenson, "Changing the memory of suffering: An organizational aesthetics on the dark side" (2014), p. 281–3.
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dynamics, as well as on the macro level of society, through "language as a common and universal law". We use
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The abject of desire : the aestheticization of the unaesthetic in contemporary literature and culture
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Brooks, Karen (1998). "Shit Creek: Suburbia, Abjection and
Subjectivity in Australian 'Grunge' Fiction".
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Gross, Elizabeth (2012). "The Body of
Signification". In Fletcher, John; Benjamin, Andrew (eds.).
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Tyler, I. (2013). "Revolting subjects: Social abjection and resistance in neoliberal
Britain".
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Rozsika Parker (2014). "Critical looks: An analysis of body dysmorphic disorder".
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Kristeva, "Powers of Horror", p. 4; Guberman, "Julia Kristeva Interviews", (1996).
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Frances, J. (2014). "Damaged or unusual bodies: Staring, or seeing and feeling".
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involved publicly urinating, defecating and cutting himself with a razor blade.
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Psychoanalysis, Aesthetics, and Politics in the Work of Julia Kristeva
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is known for his photos dealing with the abject. In the late 1960s,
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Foster, Hal. "Obscene, abject, traumatic." October (1996): 107–124.
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identity that has since been rejected – the abject.
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The Columbia Dictionary of Modern Literary and Cultural Criticism
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Psychoanalysis, aesthetics, and politics in the work of Kristeva
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Childers, Joseph (1995). Childers, Joseph; Hentzi, Gary (eds.).
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Abjection, Melancholia and Love: The Work of Julia Kristeva
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wrote a journal in which abjection was an important theme)
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It was preceded by the films and performances of the
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After the celebration: Australian fiction 1989–2007
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791:Kristeva, Julia (1982). "Approaching Abjection".
185:(1979) has been analysed as an example of how in
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1223:Rizq, R. (2013). "States of abjection".
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892:Creed, p. 17 and p. 26–9.
504:, the title of a book by
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331:body dysmorphic disorder
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231:The Lives of the Saints
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1214:Oliver, K. (2009).
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533:Yang Zhichao
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381:Please help
376:verification
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574:Piss Christ
469:Gunter Brus
461:Gunter Brus
395:August 2012
320:Foucauldian
147:the uncanny
1295:Categories
1252:Jean Genet
1119:, Rodopi,
1048:(4): 440.
645:. p.
625:References
553:Kiki Smith
518:Lennie Lee
485:Mary Kelly
465:Otto Muehl
203:grunge lit
170:Jean Genet
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62:homophobia
510:Ron Athey
179:The film
82:psychosis
43:repressed
25:abjection
593:Alterity
581:See also
514:Franko B
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