Concepts of the Abject and Psychoanalytic Concepts - Literature review Example

Concept of the Abject Name: Institution: Instructor: Course: Date: Concepts of the Abject and Psychoanalytic concepts The definition of abject from variety of sources including oxford dictionary terms it as degraded, despicable, miserable or even craven. Abject is portrayed like a condition of degradation and shame. Nonetheless, the description is in a way vague as well as insubstantial. Abjection is articulated in number of ways ranging from religious abhorrence, naked women’s bodies, cannibalism, body waste, murder and perversion. These are aspects surrounding humanity which are termed as abject (Gear, 2010). According to Kristeva (1982), the initial stage where human experience abjection is after birth. The thought stems from the Lacan’s theory; a theory that supports abjection. Kristeva (1982) argues that overall abjection represent controversial rebellion against what brought human kind to being. After departing the mother’s body, a child enters symbolic realm where he succumb to father’s law. Thus, the mere confrontation of abject by the adults is somewhat fearful (Pollock, 2005). Adults never want to identify with it. It also provokes human kind to recall the state of being before parting ways with the womb, to a point of feeling helpless. Thus, individualism is intimidated and provoked by a thing which doesn’t account. According to Kristeva (1982), abject contains a single quality of object which is being opposed. According to Kristeva (1982), humans should be aware of the interlink that exists between abject and the object. The imminent boundary transpiring amid abject and object tend to be imaginary. Whilst humans get to abject situation, their imaginations diminish. This makes abject to be a real threat since both distinct system as well as conception of order is disrupted. Through the power of horror, Kristeva argues that abject varies from one person to another. Abject thus keeps changing. However, she asserts that the absence of abject would hinder people comprehend themselves as wholly formed subjects within the symbolic order. She further argues that abject is vile to an extent of being recognised as a thing. The mere comprehension of abject is very important as far as understanding why humans regards something as disgusting, is concerned. Abject is applied by Kristeva (1982) to explain theory of gender and sexuality. According to Kristeva (1982), the mere effort of analysing abject without emphasis of feminism is callous and weird. Feminism representation is done by Barbara Creed. In her analysis, Barbara depicts various ways through which feminine gender is feared, abjected and treated with peculiarity in the modern society. According to research, how feminine bodies are treated as abject has far reaching implications in women experiences. Thus, this makes it inevitable for feminine gender to be incorporated in understanding both abject and monstrous-feminine concept and how they interrelate (Gear, 2010). It is important to delve more into the monstrous-feminine concept presented by Barbara. What Barbara did is to draw connection of monstrous concept and abject concept. She acknowledged that human societies have unique perception regarding monstrous-feminine; that is, something which is terrifying and horrific about a woman (Creed, 1993). Barbara noted the application of monstrous-feminine in horror movies (Mulvey, 2010). However, her argument that abject takes a centre stage in such movies in form of recurring images is applicable in monstrous of Sherman. Barbara’s analysis extends beyond covering monsters in such movies (Creed, 1993). Her main concern is gender within the representations (films) According to Creed (1993), it is femininity itself which is monstrous. Barbara Creed argues that from history, feminine gender has been posed as objects and their self represented as anxious form of sexuality. The origin of such monstrosity could be traced back at times of Aristotle. Aristotle once asserted that a woman is a monster. Thus, the lack of phallus in women is directly linked with that notion of monstrosity. The argument of Creed is that monstrous-feminine concept as construed by patriarchal ideology is intimately linked to the overall sexual difference as well as castration (Creed, 1993). Barbara Creed analysed the concept of abjection. Initially, she acknowledged that analysing the concept is an uphill task. In his analysis however, Creed asserts that Kristeva is greatly concerned with the important role that abject plays as far as forming the subject is concerned. She agrees that abjection mandates separation of humans from what is unreal. She challenges that it is impractical to exist in the absence of applying the abject in drawing a border. She mimics Kristeva sentiments that abject must be repulsed since it is hard to assimilate. Thus, the very necessity of repulsion is termed as a border, propelling abjection over ambiguity. The main reason behind this is cause, during the release of the hold, abject is never cut off. Rather, abjection recognizes it to be part of perpetual danger. Kristeva (1982) argues that it is essential to do away with the abject. However, humans should recognise that abject dwells within their body. It is hard to approach repugnant abject, yet it is impossible to live without it since it acts as a border which defines humans. Example of Arts that engage with Abjection A number of arts displayed in forms of images are presented through Sherman’s work. In her series known as sex pictures, Sherman applies mannequins as well as dolls arranged in a pose which implies that she is trying to communicate a message. Despite the fact that interpretation of arts is universal, presentation of Sherman images portray forms of defilement as well as loathing previous covered by Kristeva. The analysis of such sexual imagery presents a through comprehension of abject concept. While illustrating the images, Sherman is forced to fight the desire to conceal, thus compelling the viewer come face to face with abject feminist body which horrifies them (Sherman & Danto, 1991). In his presentation, two images marked x and y are illustrated. In the first image labelled x, male and female genitalia are shown. Male imagery is placed at the top while female’s is below the male strapped with a bow at that centre. The male reproductive organ is tied with a ring. Female’s vulva contains exposed tampon string with mass of dark pubic hair (Mulvey, 2010). Two doll heads are placed on the frame. Female head seems shying away from the camera. The male head seems focused and unshaken and is gazing straight at the camera (Sherman & Danto, 1991). The second image y depicts a woman model. She is lying on a bed covered with hair. According to the image, it is certain she is elderly due to the wrinkles and the long white hair. Her pose is sexy, seductive and gazing at the camera directly. Her mammary gland nipples look erect while her tummy is protruding. Her female reproductive organ is largely exaggerated possibly from the fact that it is swollen. There seems to be a protruding object from the female’s organ (Gear, 2010). According to the presentation of those images, Sherman takes the nude and replaces reminders pertaining fecund corporeality. Moreover, Sherman moves away from showcasing natural feminine beauty (Pollock, 2005). Contrary, she uses controversial images that tend to repulse the observer. Furthermore, the intention of such ‘dirty’ images is to provoke strong reaction. Sherman applies feminine lurk within the photography in form of tampon string, long hair and seductive pose. However, these are placed next to grotesque nature of dismembered mannequins. Both abject as well as monstrous-feminine concepts are covered in the photos (Sherman & Danto, 1991). Sherman seems to be communicating what was expressed by Ussher. According to Ussher, it does not mean that feminine body is abject and polluted (Ussher, 2006). Rather, feminine body has been placed as such, consisting of major insinuations regarding their body (Krauss, Sherman & Bryson, 1993). Sherman cleverly positions woman as an object. For instance, appearance of toys exposes the required fear as well as hysteria which are associated with constructions as well as mythologies of female body (Ussher, 2006). Two important components of images x and y emerges. These are the components of menstruation and maternity. Sherman notes that from the tender age, young girls are sensitized in hiding evidence related to shameful bleeding. In the developed nations, ladies pass through stringent mentoring on how to maintain hygiene during their menses. The argument put forward by Ussher is that every single regulatory practice shares a general goal. According to image y, Sherman does provoke the observer by her reluctance to conceal evidence of menses. The exposed tampon triggers the viewer to react (Ussher, 2006). The exposure also evoke mixed feelings related to ritualized cleansing as well as concealing menses through proper femininity. Sherman asserts that showing of blood during the period of menses is improper. It erodes the very nature of a fantasy attributed to the female reproductive organ (Gear, 2010). Sherman also asserts that the menstruation period is termed a taboo by various communities. However, Sherman herself breaks this taboo when she exposes a tampon. However, show of menses is unseen. This means that the image express duo meanings. What Sherman does is to make the audience construe menses as grotesque. At the same time, she reveals the actual point from which menses come through as concealed. She simultaneously exposes and conceals monstrous-feminine parts (Mulvey, 2010). The imagery y has a protruding belly signifying pregnancy. The round big belly triggers the mind of the viewer to think of reproductive feminine body. The image of the mother is once again portrayed but rather in an abject way (Krauss, Sherman & Bryson, 1993). Sherman’s work signifies life and death concept. However, Sherman asserts that while coming up with the images, she was not possessed by sense of death. But afterwards, she came to realize that the terrifying thoughts of death were inevitable (Sherman & Danto, 1991). According to Kristeva (1982), the concept of abjection coupled with monstrous-feminine concept contains interlinked themes. This includes mothering, life and death, corpses, birth as well as mortality. Female reproductive organ which is regarded controversial possesses the power to evoke this concept. What this means is that that a woman has been given the ability to give forth life. Similarly, she has also been used as a symbol to show how mortality occurs. References Kristiva, J., 1982. Powers of horror: An essay on abjection (L. Roudiez, Trans.). New York: Columbia. Creed, B., 1993. The monstrous-feminine: Film, feminism, psychoanalysis. Psychology Press. Ussher, J.M., 2006. Managing the monstrous feminine: Regulating the reproductive body. Psychology Press. Gear, R., 2010, August. All those nasty womanly things: Women artists, technology and the monstrous-feminine. In Women's Studies International Forum (Vol. 24, No. 3, pp. 321-333). Pergamon. Mulvey, L., 2010. A phantasmagoria of the female body: The work of Cindy Sherman. New Left Review, (188), p.136. Krauss, R.E., Sherman, C. and Bryson, N., 1993. Cindy Sherman, 1975-1993. Rizzoli Intl Pubns. Pollock, G. ed., 2005. Generations and geographies in the visual arts: Feminist readings. Routledge. Sherman, C. and Danto, A.C., 1991. History Portraits: Cindy Sherman. Rizzoli Intl Pubns. Read More

The abject is applied by Kristeva (1982) to explain the theory of gender and sexuality. According to Kristeva (1982), the mere effort of analyzing abject without emphasis on feminism is callous and weird. Feminism representation is done by Barbara Creed. In her analysis, Barbara depicts various ways through which the feminine gender is feared, abjected, and treated with a peculiarity in modern society. According to research, how feminine bodies are treated as abject has far-reaching implications in women's experiences.

Thus, this makes it inevitable for the feminine gender to be incorporated in understanding both abject and monstrous-feminine concepts and how they interrelate (Gear, 2010). It is important to delve more into the monstrous-feminine concept presented by Barbara. What Barbara did is to draw a connection between the monstrous concept and the abject concept. She acknowledged that human societies have a unique perception regarding monstrous-feminine; that is, something which is terrifying and horrific about a woman (Creed, 1993).

Barbara noted the application of monstrous-feminine in horror movies (Mulvey, 2010). However, her argument that abject takes a centre stage in such movies in form of recurring images is applicable in monstrous of Sherman. Barbara’s analysis extends beyond covering monsters in such movies (Creed, 1993). Her main concern is gender within the representations (films).According to Creed (1993), it is femininity itself that is monstrous. Barbara Creed argues that from history, the feminine gender has been posed as objects and their self represented an anxious form of sexuality.

The origin of such monstrosity could be traced back to the times of Aristotle. Aristotle once asserted that a woman is a monster. Thus, the lack of phallus in women is directly linked with that notion of monstrosity. Creed argues that the monstrous-feminine concept as construed by patriarchal ideology is intimately linked to the overall sexual difference as well as castration (Creed, 1993). Barbara Creed analyzed the concept of abjection. Initially, she acknowledged that analyzing the concept is an uphill task.

In his analysis, however, Creed asserts that Kristeva is greatly concerned with the important role that abject plays as far as forming the subject is concerned. She agrees that abjection mandates the separation of humans from what is unreal. She challenges that it is impractical to exist in the absence of applying the abject in drawing a border. She mimics Kristeva's sentiments that abject must be repulsed since it is hard to assimilate. Thus, the very necessity of repulsion is termed as a border, propelling abjection over ambiguity.

The main reason behind this is the cause, during the release of the hold, the abject is never cut off. Rather, abjection recognizes it to be part of the perpetual danger. Kristeva (1982) argues that it is essential to do away with the abject. However, humans should recognize that abject dwells within their bodies. It is hard to approach repugnant abject, yet it is impossible to live without it since it acts as a border that defines humans. Several arts displayed in the forms of images are presented through Sherman’s work.

In her series known as sex pictures, Sherman applies mannequins as well as dolls arranged in a pose which implies that she is trying to communicate a message. Even though the interpretation of arts is universal, the presentation of Sherman images portrays forms of defilement as well as loathing previously covered by Kristeva. The analysis of such sexual imagery presents a thorough comprehension of an abject concept. While illustrating the images, Sherman is forced to fight the desire to conceal, thus compelling the viewer to come face to face with the abject feminist body which horrifies them (Sherman & Danto, 1991).

In his presentation, two images marked x and y are illustrated. In the first image labeled x, male and female genitalia are shown. Male imagery is placed at the top while females are below the male strapped with a bow at that center.

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