Global ETD Search

101	Aggressive Flesh: The Obese Female Other Broom, Hannah January 2005 (has links) My visual art practice explores the point at which a sense of bodily humour and revulsion may intersect in the world of the monstrous-feminine: the female grotesque, presented as my own obese (and post-obese) body. This exegesis is a written elucidation of my visual art practice as research. As an artist I create performative photographic images featuring taboo or otherwise 'inappropriate' subject matter, situations, materials and behaviours including bodily fluids, offal, internal organs and my own post-obese body. Through these modes of working, I establish and investigate the subjectivity of flesh: Why are we repulsed by the female grotesque? How can this flesh be used to subvert readings of the female body? My research is informed by those understandings of the female body, sexuality and difference described in the work of feminist theorists including Julia Kristeva, Helene Cixous, Ruth Salvaggio and Elizabeth Grosz. I explore the work of influential artists such as Eleanor Antin, Carolee Schneeman, Cindy Sherman and Sarah Lucas. In this context, I present my own visual art practice as a point from which the monstrous-feminine can be given voice as sentient, intelligent flesh. Visual Art Practice-Led Research Obesity Fat Monstrous-feminine She-Monster Female Grotesque Other Feminism Psychoanalysis Autobiography Subjectivity Abjection Carnivalesque Photography Performance art The Uncanny Trauma Identity Trickster Vampire Young British Art Sarah Lucas Hayley Newman Carolee Schneeman Eleanor Antin Ruth Salvaggio Julia Kristeva Sigmund Freud Helene Cixous
102	Perversity on paper taboo, abjection and literature: Iain Banks' The wasp factory, Ian McEwan's The cement garden, and Irvine Welsh's Marabou stork nightmares De Coning, Alexis January 2011 (has links) This thesis explores the notion of perversity in literature, specifically with regard to representations of taboo and abjection in Iain Banks‟ The Wasp Factory, Ian McEwan‟s The Cement Garden, and Irvine Welsh‟s Marabou Stork Nightmares. Julia Kristeva‟s Powers of Horror: An Essay on Abjection, as well as her notion of revolt, constitute the central theoretical framework for my analysis. However, I also draw upon the concepts of monstrosity, grotesqueness and the uncanny in order to explicate the affect of abject fiction on the reader. I posit, then, that to engage with literary works that confront one with perversity, abjection and taboo entails exposing oneself to an ambiguous or liminal space in which culturally established values are both disrupted and affirmed. The subversive and revolutionary potential of the aforementioned novels is discussed with reference to the notion of the perverted Bildungsroman since, in their respective transgressions of taboos, the narrators of these novels disrupt social order, and their narratives end on a note of indeterminacy or the absolute finality of death, rather than self-actualisation. Moreover, in exposing the binaries of sex and gender as arbitrary and fluctuating, these narrators‟ perverse sexual and gender performativities gesture towards alternative modes of being (beyond social sanction), and invoke Kristeva‟s notion of individual revolt as a „condition necessary for the life of the mind and society‟. Banks, Iain, 1954-, The wasp factory McEwan, Ian -- The cement garden Taboo in literature Abjection in literature
103	Äcklet, Äcklet : En äckelstudie om doft, kroppsvätskor och skriftliga spyor samt att äta sig själv och andra i Aliide, Aliide, Parfymen, Nekrofilen, Våtmarker och Tid för kärlek / Disgust, Disgust : A disgusting study about scent, bodyfluids, writing vomit and eating oneself and others in Aliide, Aliide, Parfymen, Nekrofilen, Våtmarker and Tid för kärlek Guldbacke Lund, Linnéa January 2021 (has links) This essay explores and examines disgust in five literary figures and books based on scent, bodyfluids and abjection. Together with Julia Kristeva's Powers of Horror: An Essay on Abjection and Sara Ahmed's "The Performativity of Disgust" in The Cultural Politics of Emotion, I analyze these books, and my position as a researchsubject. The questions I ask are: What does disgust mean? How do the subject's boundaries shift when things penetrate the body? How are scents, body fluids and disgust expressed in relation to power and the female body? And what does it mean that I stick my reading experiences on the texts I read? The analysis begins in Mare Kandre's novel Aliide, Aliide and how gaze, power and girlhood are made, as well as how abjection takes place in the intake of milk and larvae. Body in body and body against body are analyzed based on Aliide's disgust in the novel. I discuss how something growing inside is experienced as disgusting and frightening and connect it to the pregnant body and the fetus as abjection. In the second chapter of the analyze, it is Parfymen: berättelsen om en mördare by Patrick Süskind that focuses on the scent of the female body that Grenouille, the main character tries to extract and master. The gaze on the female body and the extraction of fragrance is in focus here and in Nekrofilen by Gabrielle Wittkop, Lucien's desire for the dead body is examined. The body fluids, such as the vomit that the bodies excrete can be read as limits to life and death. In the third and final analysis section, I read these books with affect. I reconnect to my introduction where Ulf Lundell's poems made me feel disgusted. I use Ahmed's concept of performativity to discuss how cannibalism - reading - eating body fluids are connected, and how writing about disgust, is a form om vomiting. I examine my own writing subject and what an affective reading does to literary studies and the research position. In conclusion, I discuss how the universal and the subjective making of disgust effect research. Disgust Abjection Scent Bodyfluids Cannibalism Vomit Research position Reading Writing Subject borders female body gaze power power relations Ahmed Kristeva repulsive effects affective performativity äckel abjekt doft lukt kroppsvätskor spy kräkas kannibalism forskarsubjekt gränser läsandesubjekt skrivandesubjekt affektiv performativitet makt kvinnokropp död motstånd effekt General Literature Studies Litteraturvetenskap
104	Rethinking the Monster : the condemnation of rape culture through the female monstrous body in Myriam Gurba's Mean and Carmen Maria Machado's "The Husband Stitch" Rousseau, Pascale 06 September 2021 (has links) Ce projet analyse le mémoire hybride Mean de Myriam Gurba et la nouvelle « The Husband Stitch » de Carmen Maria Machado en se concentrant sur différentes itérations de monstruosité féminine dans des récits portant sur la culture du viol. Je démontre comment les corps féminins codés comme monstrueux deviennent le site d'un contre-discours qui perturbe et élargi les conceptions sociales qui sont faites de la violence sexuelle. Les écrits de Nathalie Wilson et Sara Ahmed informent la théorisation des monstres et de leurs rôles prescrits, tandis que les idées de corporéalité, embodiment, et abjection illuminent les possibilités représentatives du corps féminin et insistent sur ses capacités comme agent de changements culturels. Le premier chapitre examine la notion de corporéalité à travers différentes descriptions des traitements du corps féminin monstrueux. Les concepts d'embodiment et d'abjection signalent l'impact de la culture du viol sur le corps, considèrent tous les espaces comme potentiellement dangereux, et illustrent les similarités entre l'acte physique de viol et certaines techniques narratives. Le deuxième chapitre analyse la multiplicité de façons de régulariser le corps féminin monstrueux et de le subjuguer à des fins patriarcales. Par la juxtaposition délibérée de plusieurs moments clés à l'inclusion de cautionary tales subversifs, la nouvelle élabore une épistémologie radicalement politisée. Dans ce chapitre, l'abjection est perçue comme une technique expérimentale qui dérange la conception que le lecteur se fait de sa propre corporéalité et subjectivité. / This thesis analyzes Myriam Gurba's hybrid memoir Mean and Carmen Maria Machado's short story "The Husband Stitch" through a focus on different iterations of female monstrosity in narratives about rape culture. I demonstrate how female bodies coded as monstrous become the site of a counter-discourse that disrupts and enlarges the social conceptions of sexual violence. The writings of Nathalie Wilson and Sara Ahmed inform the theorization of monsters and their prescribed roles, while the ideas of corporeality, embodiment, and abjection engage the representative possibilities of the female body and insist on its possibilities as agent of cultural change. The first chapter examines the notion of corporeality through different descriptions of the treatment of the monstrous female body. The concepts of embodiment and abjection signal the impact of rape culture on the body, consider all spaces as potentially dangerous, and illustrate the similarities between the physical act of rape and certain narrative techniques. The second chapter analyzes the multiple ways of regularizing the monstrous female body and of subjugating it for patriarchal purposes. Through the deliberate juxtaposition of several key moments with the inclusion of subversive cautionary tales, the short story elaborates a radically politicized epistemology. In this chapter, abjection is understood as an experimental technique that disturbs the reader's conception of their own corporeality and subjectivity. Gurba, Myriam. Mean. Gurba, Myriam -- Thèmes, motifs Machado, Carmen Maria. Husband Stitch. Machado, Carmen Maria -- Thèmes, motifs Culture du viol dans la littérature Patriarcat dans la littérature. Image du corps dans la littérature. Abjection dans la littérature.

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