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31	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
32	A Semiotic reading of gendered subjectivity in contemporary South African art and feminist writing De Gabriele, Mathilde Daatje Johanna Fenna 30 November 2002 (has links) This dissertation investigates the correlation between semiotic theory and the way that gendered subjectivity is represented in contemporary South African art. The phenomenon of signification is central to the semiotic theories of the Bulgarian semiotician and psychoanalyst Julia Kristeva. Semiotics can be described as the science of the sign that considers the way in which artists express their personal experience in art making. In this investigation I refer mainly to women's artworks, although the concept of gendered subjectivity in the work of male artists is also discussed. This particular research investigates the symbolic relations of culture in gender terms, that explores the apparent contradictions of subjectivity inherent in capitalist patriarchal society. / Art History, Visual Arts and Music / M.A. (Visual Arts) Femininity Difference Negativity Rejection Drives Transference The Thetic Enunciation Abjection Desire Jouissance Transcendence 704.0420968 Siopis, Penny, 1953- Malherbe, Veronique Kristeva, Julia, 1941- Gender identity in art Transcendence (Philosophy) in art Abjection Femininity in art Women artists -- South Africa Art, South African Feminism and art -- South Africa Women in art -- South Africa Transference (Psychology)
33	Who Speaks: Ericka Beckman’s Super-8 Trilogy Marshall, Janina Piper January 2025 (has links) This dissertation investigates the early films of Ericka Beckman made between the years 1977-1980 in the United States. Collaborator of Mike Kelley and Dan Graham and colleague of James Welling and Tony Conrad, Beckman exerted influence in the art communities of New York and California. At the outset of her career, critics heralded Beckman as a vanguard filmmaker. Yet, she was also deposited outside of prominent discourses, such as Pictures, in art history and the New Talkies in cinema studies. Rather than constrain Beckman’s output to an extent genre, this dissertation argues that her films surpass and thus undermine discursive boundaries. A reader of child psychologist Jean Piaget, Beckman’s research led her to the potent and disciplinary force of children’s material. Deploying lullaby, play, and reverie in 8mm, Beckman’s trilogy of films unsettle conversations about imagination, vision, and memory, which have long been the concerns of art history from the nineteenth century forward. Calibrating between the framework of Gilles Deleuze and Félix Guattari for a “minor artist” and the notion of Julia Kristeva that “major” accounts uphold specific, normative readers, I argue that Beckman transforms the gauges of advanced discourse and alters the subjectivity of her constituents in the process. Women independent filmmakers Motion pictures, American Children in art Play in art Memory in art Art--Historiography Super-8 motion pictures Twentieth century Piaget, Jean, 1896-1980 Beckman, Ericka, 1951- Kelley, Mike, 1954-2012 Conrad, Tony Graham, Dan, 1942-2022 Welling, James Deleuze, Gilles, 1925-1995 Guattari, Félix, 1930-1992 Kristeva, Julia, 1941-

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