Abject Visions: Powers of Horror in Art and Visual Culture
Abject Visions: Powers of Horror in Art and Visual Culture
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Abstract
The rich variety of essays in Abject Visions: Powers of Horror in Art and Visual Culture demonstrate that abjection as a concept continues to hold great value as an aid to cultural understanding and a prompt to critical reflection. They communicate the enduring power and relevance of the abject by explaining how it conveys ideas about aesthetic, social and moral conventions with regards to representation and viewing. Theories of the abject are key to understanding the contemporary. This is because abject art and literature are not bound to a particular period or geographical location. They adapt to reflect changing times and contexts. The essays in this volume cumulatively demonstrate that abjection is not singular but plural and multiform. In their chosen themes and artists, the contributors draw on the ideas of Georges Bataille and Julia Kristeva, and others such as Judith Butler, Hal Foster and Rosalind Krauss, as part of their approach to extending current ways of conceiving abjection. The majority of the essays focus on the visual arts although there are also considerations of how attending to the abject can inform readings of film, theatre and literature, a fact which attests to its interdisciplinary relevance.
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Front Matter
- Introduction: approaching abjection
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1
Abjection, art and bare life
John Lechte
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2
Queering abjection: a lesbian, feminist and Canadian perspective
Jayne Wark
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3
Manet’s abject Surrealism
Nicholas Chare
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4
Juan Davila’s abject after-image
Rex Butler andA. D. S. Donaldson
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5
Animals, art, abjection
Barbara Creed andJeanette Hoorn
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6
The fragmented body as an index of abjection
Rina Arya
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7
Skin, body, self: the question of the abject in the work of Francis Bacon
Ernst van Alphen
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8
Abjection, melancholia and ambiguity in the works of Catherine Bell
Estelle Barrett
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9
Corpus delicti
Kerstin Mey
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10
Art is on the way: from the abject opening of Underworld to the shitty ending of Oblivion
Calvin Thomas
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11
Base materials: performing the abject object
Daniel Watt
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End Matter
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