Notes

Introduction

1. Kristeva’s Pouvoirs de l’horreur: Essai sur l’abjection, was first published in 1980 in Paris by Éditions du Seuil. Two years later it was translated into English and it had a momentous impact on an Anglo-American audience. 2. Kristeva argues that the term ‘l’abjection’ has a ‘much more violent sense [in French] than it does in English’ (Oliver, 2002, p. 374). 3. This argument is also developed in Foster (1996a, p. 156). 4. This bears similarities to the dual nature of the sacred, which being both pure and impure is essential for the sustenance and maintenance of social order but is also feared because of the threat of contamination and dis- array that it poses. What the abject and the sacred have in common is their integral sociological role in human life and their apparently contra- dictory nature, which can be viewed as the fundamental paradox of life, which is that we are born to die. 5. In that respect it bears similarities with other theoretical concepts, such as the sublime and the sacred. 6. In fact, Kristeva makes this point when she examines the comparisons that exist between the abject and the sublime: ‘The abject is edged with the sublime. It is not the same moment on the journey, but the same subject and speech bring them into being’ (Kristeva, 1982, p. 11). 7. They were stripped of their human dignity and treated as the dregs and refuse of social life (Krauss, 1996, p. 90). 8. Consulting the MLA Bibliography, Winfried Menninghaus (2003, p. 365) notes that since the late 1980s there has been an increase in book and article titles that employ the terms ‘abject’ and ‘abjection’. 9. In Strangers to Ourselves (1988; English translation 1991) Kristeva pursues the idea that the otherness that we fear actually comes from within, and one way of coming to terms with this is to confront the other in our encounters with strangers, by which she is referring to foreigners: [T]he foreigner lives within us: he is the hidden face of our identity, the space that wrecks our abode, the time in which understanding and affinity founder. By recognizing him within ourselves, we are spared detesting him in himself ...The foreigner comes in when the consciousness of my difference arises, and he disappears when we all acknowledge ourselves as foreigners, unamenable to bonds and communities. (Kristeva, 1991, p. 1) 10. The milk is ‘an aberrant fluid or a melting solid’ (Douglas, 2002, p. 48). In this halfway state between solid and liquid, it bears similarities to Jean- Paul Sartre’s notion of le visqueux (the slimy or the sticky), which Mary

197 198 Notes

Douglas discusses in Purity and Danger in relation to her classification of the anomalous. The viscous, Douglas says, ‘is like a cross-section in a pro- cess of change. It is unstable, but it does not flow. It is soft, yielding and compressible. [Stickiness] attacks the boundary between myself and it’ (Douglas, 2002, p. 47). See also, Sartre, 2003 [1943], pp. 624–632. 11. The notion of the autonomy of the artist, and indeed of the artwork, is a phenomenon that is typical of the twentieth century where artists were more at liberty to express their own vision.

1 Unpacking Abjection

1. La Révolution du langage poétique is Kristeva’s doctoral thesis (Sorbonne) which was written in 1974, and part of it (only the first third of the orig- inal French edition) was translated a decade later to form Revolution in Poetic Language (McAfee, 2004, p. 13). 2. The discussion of abjection and the maternal body informed Kristeva’s later writings on female sexuality (Oliver, 2002, pp. vii–viii). 3. Estelle Barrett states that abjection (as signalled by the concomitant pro- cess of rejection and repulsion) arises in the womb, when the foetus rejects various fluids from the mother. This view is only valid if we believe that the foetus has emotional responses and agency (Barrett, 2011, p. 70). 4. In Kristeva’s account, the male infant experiences more of a sense of repulsion and fascination than the female infant, who is unable to split the maternal to the same extent (see Chapter 7, n. 1). 5. La sémiotique (semiotics) as the science of signs is distinct from this sense of the semiotic, what Kristeva calls le sémiotique. 6. Lacan was a major figure in Paris in the 1960s and Kristeva would have become more aware of his influence following her relocation from Bulgaria in 1965. 7. The Imaginary is often capitalized to distinguish it from the more quotid- ian term imaginary, which means what appertains to the imagination. 8. In Lacan’s work a capital ‘S’ is often used to denote the Symbolic and this practice will be continued here to differentiate Lacan’s use of Symbolic from Kristeva’s use of symbolic. 9. ‘The mother’s gaze is the child’s first mirror; the child’s identity or notion of itself as a whole being is first formed in that gaze; it is a narcissis- tic manoeuvre that underpins the development of identity’ (Bailly, 2009, p. 37). 10. Grosz makes a connection between these bodily by-products which Kristeva refers to as the abject and Lacan as objet a or objet petit a (Grosz, 1994, p. 81). This is entirely plausible. The objet petit a does not refer to an object in the real world but to an object that the subject has lost, which is now configured in the sense of ‘object relations’ (such as the breast, the stool, the genitalia). See Bailly, 2009, p. 129. 11. Some critics, such as Rosalind Krauss have used the psychiatric term ‘borderline’ to define this state of being in-between (Krauss, 1996, p. 91). Notes 199

12. Her use of male writers in Powers of Horror and other texts further rein- forces her conflation of the symbolic with the post-maternal masculine (see Chapter 7, n. 1). 13. Keith Reader suggests that this is the viewpoint taken by Judith Still who argues that ‘the maternal is not identical with the feminine and is not simply to be conflated with it’ (see Still, 1997, pp. 233–225). 14. In some cases the terms were lumped together or used interchangeably (see ‘Disgust and Abjection’ in Ahmed, 2004, pp. 84–89). An example where the concept of abjection is reduced to a variant of disgust is in Julian Hanich’s paper ‘Dis/liking Disgust: The Revulsion Experience at the Movies’ where he describes abjection (through inference to Kristeva’s Powers of Horror) as ‘psychoanalytic speculations about the functions of disgusting films’ (Hanich, 2009, p. 294). 15. See Darwin, The Expression of the Emotions in Man and Animals (1872). 16. In 1973 Kolnai wrote another important essay based on aversive emotions entitled ‘The Standard Modes of Aversion: Fear, Disgust, and Hatred’, which is collected in Kolnai (2004, pp. 93–109). 17. However, equally surprising is that Kristeva does not engage at all with the literature on disgust in spite of her describing abjection in terms of disgust. In an interview with Elaine Hoffman Baruch on ‘Feminism in the United States and France’ Kristeva described abjection as something that causes disgust: ‘ ...there is also the aspect of nausea, of wanting to vomit. L’abjection is something that disgusts you. For example, you see something rotting and you want to vomit ...’ (Oliver, 2002, p. 374). 18. Some analytic philosophers, such as Noel Carroll, go so far as to voice disdain for Kristeva. In a footnote Carroll expresses how ‘I do not know whether Kristeva’s meanderings are even intelligible’ (Carroll, 1990, p. 221, n. 39). 19. Ross would reject this conjecture for she believes that the contemporary use of the abject involves not only the matter of a return to nature but also that which ‘produces an excessivity or an uncontrollability’ and in particular ‘an excess that problematizes the relationship of the self to the feminine other, and opens up new cybernetic definitions of subjectivity’ (Ross, 2003, p. 281). 20. Colin McGinn, 2011 comes to the same conclusion (see p. 13, n. 1).

2 A Cultural History of Abjection

1. Although morally objectionable, the caste structure systematizes social relations and self-identifies people’s positions in society. 2. It is important to reiterate that, in this interpretation, structural place- ment precedes any analysis of its unhygienic nature. In other words, something is deemed dirty because it has a problematic relationship with the category in which it is meant to fit. 3. Following on from Douglas, Kristeva also examined the laws of unclean- liness in the book of Leviticus and considered them in relation to the boundaries of the body. 200 Notes

4. It is significant that food classifications are more scrupulous when dealing with meat (animals) rather than vegetable food substances, a fact that conveys our ambivalence about the relationship between humans and animals. We express our distance from them by not just indiscriminately consuming any animal but rather through the exercise of judgement in the selection process of what we can (and cannot) consume, a method which even extends to specific parts of an animal, and also prescriptions about the way something should be cooked. The other biological theory is that given that animals foods are the source of pathogens, more care has to be exercised handling animal products. 5. Miller identifies weaknesses in the laws put forward in the book of Leviticus and concludes that ‘No single-dimensioned scale explains satis- factorily all the cultural distinctions we make in constructing the category of edible animals’ (Miller, 1997, pp. 47–48). 6. This view can be paralleled with Butler’s theory of social abjection. 7. The fact that Kolnai used the definition of dirt as being ‘matter out of place’ confirms that this notion in fact predates Douglas. Douglas bases her structuralist system on this idea. 8. ‘Western’ refers to Europe and North America. 9. In The Birth of Tragedy (1993 [1872]) Nietzsche argued that the nature of human beings was divided between two contrasting principles: the Apollonian (which stood for formalism and rationalism) and the Dionysian (which represented the ideas of excess and ecstasy). 10. Durkheim argued for the duality of human nature, what is known as the homo duplex: The individual is ...comprised of two different ‘beings’ – the first derived from and expressing our physical organism, the second derived from and expressing society. It is inevitable that these two beings should oppose one another, for the first is reflected in those sensations and appetites for which the individual demands satisfac- tion, while the second gives rise to reason and moral action, without which society is literally impossible. (Quoted in Jones, 2005, p. 81) 11. In 1995 the journal Body & Society, edited by Mike Featherstone and Bryan Turner, was launched to cater for the growing academic interest in the sociological and cultural analysis of the body. 12. The incest taboo underpinned the basis and functioning of society. 13. Originally published in 1939, the English translation is in two volumes. 14. Chris Shilling (1993, p. 152) states that ‘in examining the development of civilized bodies, Elias’s approach is both sociogenetic and psychogenetic [Elias’s own terms] as it encompasses the broadest of long-term processes underlying society’s development, and the specific personality and drive structures of individuals’. 15. His study bears similarities to Weber’s conception of rationalization and the latter’s examination of the impact of Protestantism on modern societies (Weber, 2011 [1904–05]). Notes 201

16. Mellor and Shilling are referring to the term used by Margaret Miles to denote how knowledge was acquired in a sensory way through the body (see Mellor and Shilling, 1997, p. 23). 17. For a comprehensive study on the development of different body-systems in Western culture, see Mellor and Shilling’s Reforming the Body (1997), which charts the transition from the ‘medieval body’ that is immersed in the natural and supernatural worlds to the rationalizing and secularizing outlook of the ‘Protestant modern body’ and beyond. 18. The Society of Individuals consists of three different sections. Part 1 was written in 1939, part 2 between 1940 and 1960, and part 3 in 1987. The book was published posthumously in 1991. 19. The academic literature on disgust explores the various psychological, social and behavioural attitudes that people have to the emotion of disgust. 20. Disease and illness also bring the body’s stability into question, which causes fear and distrust of the body. In Western culture, ageing has also become loathsome and people take great pains to slow down the process in various ways. 21. Being untrained in socialized processes, children (very young children especially) do not experience the same feelings of repulsion or disgust. 22. In contrast we have the skeleton which, although used widely in the hor- ror genre and may cause fear, does not provoke disgust ‘so long ...as it is completely stripped of the remnants of flesh’. The skeleton is ‘clean’ (McGinn, 2011, p. 17). 23. According to Kristeva, menstrual blood provokes disgust because it is a further reminder of the archaic mother who has been made abject. This is witnessed in the numerous rites, particularly in pre-modern religions, concerning menstruation. 24. Some theorists, such as Kolnai, make a distinction between ‘excreta’ and ‘secreta’ where ‘the former are bare dross, [and] the latter serve a spe- cific function and thus are essentially free from putrefaction’, but he also acknowledges that there are intermediate cases (Kolnai, 2004, p. 54). See also Douglas, 2002, pp. 154–155. Kristeva states that polluting objects fall into two types: excremental and menstrual. Furthermore, she argues that even though tears ‘belong to the borders of the body’ they do not have ‘any polluting value’ (Kristeva, 1982, p. 71). What is problematic and remains unjustified is Kristeva’s curious suggestion that menstrual blood is contaminating but semen is not. Adhering to her boundary-rule, Douglas (2002, p. 153) argues that since semen breaches bodily boundaries, it is impure. Kristeva applies this logic to her assessment of menstrual blood, arguing that it repre- sents a danger to identity and threatens the relations between the sexes (Kristeva, 1982, p. 71). Why she regards semen as being any less of a threat is not clear, unless it is the case that Kristeva is intimating that paternity is less dangerous and less vulnerable, speculations that Grosz puts forward (Grosz, 1994, p. 207). The split between nature (the maternal) and cul- ture (the paternal) may be another reason for debasing menstrual fluid 202 Notes

(Kristeva, 1982, p. 74). Miller and others reject Kristeva’s views about semen and argue that it is ‘one of the most polluting of substances’ (Miller, 1997, pp. 103–105, p. 261, n. 41). 25. Grosz observes the commensurability between Kristeva’s concept of the abject and Lacan’s objet petit a (Grosz, 1994, p. 81).

3 Recovering the Sacred: The Abject Body

1. The anthropologist Victor Turner isolated the middle liminal stage from van Gennep’s analysis and further examined its significance in his own work. 2. See Mellor and Shilling’s Reforming the Body (1997). 3. Bataille was influenced here by the ideas of Marcel Mauss in his theory of the gift (in his essay The Gift: Forms and Functions of Exchange in Archaic Soci- eties, 1925/1967 – English translation). Mauss studied archaic systems of exchange among certain groups of indigenous groups living on the north- west coast of North America, and he argued that these societies’ economies are characterized by potlatch, that is the ritualized exchange of gifts that are set up at significant points in the life cycle including birth, marriage and death. During these occasions the giving of a gift set up a cycle of exchange that involved putting on a show of wealth in different ways – by giving, squandering or destroying wealth. In turn the beneficiary was obligated to reciprocate by giving more, or else they would lose status and prestige. This competitive cycle, which could continue ad infinitum, of demonstrating wealth resulted in bigger stakes and an increasing sense of obligation. 4. ‘[We are] [m]ade discontinuous beings by the very fact of our birth’ (Richardson, 1998, p. 20). 5. It is worth making a distinction here between sexual desire and sexual experience. Being of the imaginary, sexual desire does not involve abjec- tion unlike sexual experience which entails having to overcome repulsion at the confrontation with another’s genitals and bodily fluids. 6. Menninghaus’s translation of Bataille, Oeuvres complètes, vol. 2 (Paris: Gallimard, 1970), 2003, p. 163. 7. She is using the term widely to accommodate theorists of culture (Kristeva, 1982, p. 64). 8. In spite of Kristeva’s sociological and anthropological ‘excursions’ vis-à-vis Douglas, her primary interest (in abjection) is rooted in the psychological and the effects that abjection has on language. 9. Orality is explored as a mode of socialization in rituals by Pasi Falk in The Consuming Body (1994).

4 Abjection in the Visual Arts

1. Bataille is known for his critical writings on a host of subjects and he also exerted a strong influence on the visual arts. He wrote about art – Lascaux Notes 203

or the Birth of Art and Manet, both 1955 – and it is through his concept of the informe that he has become well known in the visual arts. 2. See the Introduction n. 10. 3. Although the dolls themselves are sculptures, they are always only pre- sented to us through the medium of photography. This enables Bellmer to control the context in which they are set but also the perspective from which they are seen. Bellmer relays the misadventures of the doll to the viewer via photography. 4. The doll has since been lost but photographic evidence aided the description of what it once looked like. 5. Peter Webb picks out the 1935 photograph of the second doll with two sets of legs, one set belonging to a young girl crossed coyly on a bed, and the other set belonging to a man dressed in trousers with the flies open, as being an ‘intimation of rape’ (Webb and Short, 1985, p. 70). 6. Therese Lichtenstein viewed the construction of the dolls as an impas- sioned attack on National Socialism and its promotion of an idealized race (Lichtenstein, 1991, p. v). His cultivation of the abject in the form of the multi-orificed body that invited the overflow of impurities undermined the totalized and fascistic body. 7. The doll has been interpreted in various ways: as an alter ego, a fetish and a transitional object ‘that protects the artist from an overwhelmingly terrifying maternal imago ...’ (Taylor, 2000, p. 6). 8. In psychoanalysis, polymorphous perversity refers to ‘the earliest libidinal stage of psychosexual development, during the oral stage, characterized by undifferentiated sexual desire that finds gratification through any erotogenic zone’ (Colman, 2003, p. 567). 9. The figural is distinguished from the figurative, which is a more common trope in aesthetics. The figurative concerns a figure that stands for an object. If something is figurative then it is of a form that retains strong references (including resemblance) to the outside world, particularly to the human figure. Bacon, among others, vehemently objected to the fig- urative tendencies of painting, which he believed would minimize the power of the painting as the narrative took hold. Deleuze adopts the term ‘figural’ from Jean-François Lyotard’s Discourse, Figure, 2011[1971], in which Lyotard discusses the figural as remaining outside the grasp of discourse or any structure. Dawn Ades (1985, p. 9) comments on how ‘Deleuze suggests the term “figural” to describe a process which both avoids abstraction and the illusionism of complete figuration’ (see also Deleuze, 2003, passim). 10. Matthew Gale and Chris Stephens argue: ‘In a world without God, humans are no different to any other animal, subject to the same innate urges; transient and alone, they are victims and perpetrators of mean- ingless acts.’ They suggest that the godless world provides the theoretical context in the 1940s for what can be described as Bacon’s animalistic humanoid figures, where there is a melding between human and animal forms (Gale and Stephens, 2008, p. 27). The context can be expanded here to encompass Bacon’s worldview. In a godless world the human is 204 Notes

levelled with the beast, and the hierarchy separating the two is suspended (see also Rina Arya’s Francis Bacon: Painting in a Godless World, 2012, for an extensive discussion about this subject). 11. Bacon was familiar with the art journal Documents and, by extension, with Bataille’s concept of base materialism. The entry on the desublimation of La Bouche is especially relevant here. 12. The original text, Logique de la sensation (1981), was translated into English in 2003. 13. For a detailed study on Bacon’s treatment of the crucifixion, see Arya, 2012. 14. ‘Body art’ is often used interchangeably with ‘Performance Art’, although, technically, as a branch or category of Performance Art, body art concen- trates on the artist’s body as material or the use of the body in other ways to make ‘human sculptural forms in space’ (see, for instance, Goldberg 1999: 153). Performance art as an overarching practice itself started much earlier than the 1960s with the Dadaists and the arrival of the European war exiles in the United States in the 1940s. 15. Examples include Otto Mühl’s Pissaction (1969) and Keith Boadwee’s Untitled (1995). 16. This use of their bodies as the platforms and loci of self-expression was met with reservation in some quarters. Lisa Tickner comments on the tendency of women artists in the 1970s to take the body as their ‘starting point’, arguing for the importance of making a distinction between the overpowering position of ‘living in’ and ‘looking at’ a female body, which are qualitatively different experiences (Tickner, 1987, pp. 263, 266). Vagi- nal iconography may be used politically but there is a danger that it can be viewed as a debasing gesture that enforces biological determinism by reducing women to their bodies. 17. Womanhouse was an installation and performance space created by Judy Chicago, Miriam Schapiro and their students of the Feminist Art Programme at the California Institute of the Arts in Los Angeles. 18. L’écriture féminine (women’s writing) is a concept that was coined by French feminist Hélène Cixous in 1975 and was used in feminist lit- erary theory to promote a liberating practice that emphasized women’s experiences and the drives of the libido. 19. ‘Photo-therapy’, a term coined by Spence, refers to the crossover between photography and therapy – the works are neither one nor the other but both, and should be interpreted as such. 20. Thomas McEvilley comments on how they ‘had ideological roots in Neolithic ritual involving themes such as the incorporation of the female, human sacrifice, shamanic endurance, the seeking of dishonor, and more’ (McEvilley, 2006, pp. 37–38). 21. ‘Collective effervescence’ is a Durkheimian notion that refers to a col- lective sensibility that is generated through ritual and is the origin of religious feelings. Karen E. Fields summarizes the key ideas: Durkheim ‘found the birth of that idea in rites, at moments of collective efferves- cence, when human beings feel themselves transformed, and are in fact Notes 205

transformed, through ritual doing. A force experienced as external to each individual is the agent of that transformation, but the force itself is cre- ated by the fact of assembling and temporarily living a collective life that transports individuals beyond themselves’ (Fields, 1995, p. xli). 22. We have to consider the possibility that some viewers may not react in such ways, which is not to say that they are unaffected by abjection but that they are unaffected by art, or certainly by this type of art. 23. In many examples the artist ‘performs’ abjection. 24. Artists working in the field of Conceptualism and Performance Art often used language performatively and instructively instead of merely in a descriptive sense. The influence of the philosopher of language J. L. Austin’s notion of ‘speech acts’ is apparent here (see Austin, 1975 [1962]). 25. The psychologist Stanley Milgram devised an experiment that explored the relationship between the orders of authority and one’s own morality. 26. Hal Foster stated that ‘[i]n trauma discourse, then, the subject is evacuated and elevated at once’ (Foster, 1996a, p. 168). 27. In the first phase of his work McCarthy was the subject of his videos and performances. When he gave this up he started using a number of disguises, such as hyperreal characters, to hide behind. 28. This is not applicable in the case of bad horror films that are unconvinc- ing and uncompelling. 29. Although this is recognized as the seminal exhibition of abjection, it is technically not the first exhibition about abjection, which was the 1992 exhibition Dirt and Domesticity: Constructions of the Feminine, which was also at the Whitney Museum (Krauss, 1996, p. 90, n. 3). In spite of the critical need both for the show and for the concept to be disseminated widely, Denis Hollier expressed what could be described as disappoint- ment when he saw it, remarking that he wondered what was abject about it since ‘[e]verything was very neat; the objects were clearly art works’ (Foster et al., 1994, p. 20). The aestheticization of the artworks detracted from their supposed abjectness. 30. The four catalogue essays, drawing on different artworks, addressed themes about gender and abjection. The final essay, ‘I, Abject’ written by Craig Houser expanded the discourse to include films. Collectively the essays fleshed out the conceptual richness of abjection. 31. Brooks Adams (1998, p. 38) discussed how some artists, in particular the Chapman Brothers, were drawn to ‘horror and the gothic-grotesque’ to portray their vision of humanity. 32. The title of the show was apt because it implied two senses of sensation: to make aware through provocation and also the celebration of the sensuous through the materiality of the artwork. 33. See Mignon Nixon’s article ‘Bad Enough Mother’ (October, 71, 1995, pp. 70–92). 34. Hatoum may also be referring to her own political displacement as a refugee in Britain during the Lebanese Civil War. 35. Some of the ideas in this chapter were previously published in my essay ‘Taking Apart the Body: Abjection and Body Art’ (see Arya, 2014, pp. 5–14). 206 Notes

5TheFormless

1. Mode d’emploi literally translates as ‘instructions for use’. 2. The volume that accompanied the exhibition was conceived of as a book rather than as a traditional exhibition catalogue. 3. In the development of his ‘theory’ of the informe, as well as other ideas, Bataille was influenced by Kolnai’s essay ‘On Disgust’ and made notes on this essay (see Kolnai, 2004, p. 17, p. 113, n. 28). Richard Williams suggests, following on from the suggestion by Charles Harrison and Paul Wood, that the notion of the formless which the curators of Formless: A User’s Guide were interested in was that proposed by US artist Robert Morris in 1968 and was published in Artforum (see Williams, 2006, p. 143). While Morris’s writing about ‘Anti Form’ may indeed inform their discussion, I maintain that their focus was indeed on Bataille’s formless. 4. Georges Didi-Huberman analyses Bataille’s opposition to form in his study La Ressemblance informe: ou le gai savoir visuel selon Georges Bataille (1995). 5. See Greenberg’s essay ‘Avant-Garde and Kitsch’ in Harrison and Wood (ed.), 2002, pp. 529–541. 6. Bataille’s notion of the informe should not be mistaken for art informel, which was a postwar style that referred to a style of painting that was gestural and which employed automatism in a Surrealist sense. Although ‘[t]his concentration on abject bodily imagery in informel art has led to a suggestion that it may have connections with [Bataille’s] thought’ (see Hopkins, 2000, p. 21). 7. This term was coined by James Clifford (Foster et al., 2011, p. 264). 8. They are often described as dissident Surrealists who were opposed to the idealist aesthetics that defined the mainstream Surrealist movement. 9. Following issue 4, 1929, the term ‘critical’ was dropped. 10. After the second issue of Documents, Dictionary was known as the Critical Dictionary, but this tag was later dropped. 11. Becker’s The Denial of Death (2011 [1973]) explores the ramifications of this. His premise is that human civilization is a defence mecha- nism against the knowledge of our mortality. He moves the focus away from sexual repression (Freud) to knowledge of the organic nature of human life. 12. ‘Outsider Art’ loosely refers to art made outside the mainstream that was regarded as being naïve and unskilled. As an official tag the term was coined by Roger Cardinal in 1972 to describe the works that were created by individuals who existed outside established society and who had had no prior academic art training. 13. The commentary can be applied to the discussion of Bataille’s first erotic novel Story of the Eye (1928). See Arya, 2007, pp. 67–77. 14. Perhaps this is what Hollier was alluding to in his assessment of the Whitney show where ‘[e]verything was very neat’ and ‘the objects were clearly art works’ (Foster et. al., 1994, p. 20). 15. See Bataille, 1987 [1957], p. 63. Notes 207

6 Abjection and Film

1. The film deals with a variety of transgressive themes such as necrophilia, murder, sadomasochism and paedophilia and consists of a patchwork of different narratives. 2. Chapters 1 and 2 of her monograph are, with minor modifications, taken from the journal article. It is worth stressing that abjection continues to be a key theme in Creed’s work, as is seen in Media Matrix: Sexing the New Reality (2003), where she examines its application in popular media. 3. Elsewhere he discusses the ‘concept of synaesthesia [as] ...at the heart of our disgusting experience at the movies’ (Hanich, 2009, p. 307, n. 3). 4. The Exorcist (1973) is based on the novel of the same name by William Peter Blatty which was published in 1971. Similarly Carrie (1976) was adapted from Stephen King’s first novel published in 1974. One Flew over the Cuckoo’s Nest (dir., Miloš Forman, 1975) was based on the 1962 novel by Ken Kesey. 5. The ‘telepods’ were meant to allow the instantaneous teleportation of an object from one pod to another. 6. The morphology of the man-fly hybrid can be couched in the broader terms of Cronenberg’s thematic concerns. Linda Williams identifies these as concerning a ‘masculinity in crisis’ which ‘is frequently dramatized through an impossible vision of male interiority, often of male bodies literally breaking apart at the seams ...’ (Williams, 1999, p. 32). 7. The term ‘category mistake’ is introduced in Chapter 1 of The Concept of Mind (Ryle, 2000 [1949]). 8. In her reformulation of the monstrous, Creed is following Donna Haraway’s concept of the cyborg and other embodiments of the mon- strous that problematized the presentation of the feminine and which looked to the grotesque to derive new interpretations. 9. Elizabeth Grosz remarks how abjection is ‘the precondition of castration; castration is an attempt to cover over and expel it’ (Grosz, 1990, pp. 92–93). 10. In spite of her adolescence, Carrie is remarkably childlike both in stature and disposition. 11. It is significant that Carrie only uses her special powers when she is under threat or is being unfairly treated. 12. More recent films about institutionalized spaces, such as Girl Interrupted (dir., James Mangold, 1999), also follow this format. 13. For an incisive study on this, see Frances Pheasant-Kelly’s Abject Spaces in American Cinema: Institutional Settings, Identity and Psychoanalysis in Film (2013) which explores the interrogation of spaces of films set in institu- tions. She claims that ‘[a]bject space is usually associated with institutions that function as castrating maternal bodies, but it is also apparent in repressive patriarchal structures’ and unravels these spaces through the course of the book (Pheasant-Kelly, 2013, p. 235). 14. Although I have in mind horror films here, other genres and films would be equally applicable, including One Flew over the Cuckoo’s Nest,which involves themes that are deeply unpleasant. 15. Carroll makes a distinction between horror that happens in the actual world which he defines as ‘natural-horror’, and horror that occurs in art- horror (Carroll, 1990, p. 12). 208 Notes

7 Abjection in Literature

1. It is apparent that Kristeva has only listed male writers in her analyses, a fact that needs justifying. One interpretation, although I am not sug- gesting this is an excuse for her treatment, is that since male writers in the late nineteenth and early twentieth century had more social power, they had the potential to be more transgressive (than female writers) and hence revolutionary ‘in their disruption of the Symbolic order’ (Spencer, 1990, p. 521). This line of argument is developed by Kristeva throughout her work. She argues that the male infant experiences a different rela- tionship with the maternal than the female infant who is unable to rid herself of the mother. Some critics have advanced the thesis that Powers of Horror is a narrative about the male (infant) and his mother (see Still, 1997, pp. 223–225 and Oliver, 1994, pp. 55). In About Chinese Women Kristeva uses sexual difference to explain how the infant’s relationship to the maternal and language impacts on how revolutionary their writing might be. 2. A variant of this quotation was used in Powers of Horror (see Kristeva, 1982, p. 188). 3. Burroughs’ interest in drug-induced experiences fits in with this objective. 4. Barthian theory crops up in many discussions of Kristeva’s work. John Lechte stated that ‘Barthes and his writing have a special place in Kristeva’s intellectual and personal trajectory’ (Lechte, 1990a, p. 65). 5. In Literature and Evil (1957) Bataille profiled the work of eight writers and discussed their work in terms of the themes of violence, eroticism and transgression. 6. Céline wrote four pamphlets from the late 1930s to the early 1940s: Mea Culpa, 1936; Bagatelles pour un massacre, 1937; L’École des cadavres, 1938; and Les Beaux Draps, 1941. 7. Venom is reserved for the mother figures who are anything but maternal but are instead vengeful and manipulative. 8. This ‘double’ life could possibly explain his use of a pseudonym; his real name was Louis-Ferdinand Destouches and he used his grandmother’s first name ‘Céline’ as his alias. 9. It is also sometimes known as DeathonCredit. 10. They are frequently referred to as ellipses. 11. John Lechte describes Céline’s writing as being hyperrealist (Lechte, 1990a, p. 165). 12. The dual nature of the sacred – where it is holy and accursed, pure and impure – has been acknowledged by scholars such as William Robertson Smith, René Girard and Robert Hertz. Bataille developed this distinction in his work on the sacred in the 1930s. 13. As Richardson states, this note is not included in the English translation of Madame Edwarda. 14. Auch is a contraction of ‘aux chiottes’ (to the shithouse), so Lord Auch is ‘God relieving himself.’ (Bataille, 1982, p. 76). Notes 209

15. Much of the discussion that follows about the style of the novel has been discussed in my paper ‘The Role of Objects in Bataille’s Story of the Eye’ (see Arya, 2007, pp. 67–77). 16. Given that he was undergoing psychoanalysis at the time of writing Story of the Eye, this experimental technique could be viewed as a form of free association. 17. While testing out a pistol that he was intending to sell, Burroughs acci- dentally shot his wife in the face instead of the glass on her head. This lead to a court case and his subsequent exile from the US. 18. See Burroughs, 1982, p. 9. 19. Junkie was the original spelling of the title of the book before it was republished. 20. This takes on an urgent aspect when we learn that Burroughs wrote the novel after he had successfully completed a course of treatment on apomorphine. 21. Its opposition to the novel form in these respects defines it as being closer to an ‘anti-novel’. 22. The technique of the crossover of different chains of signification in Bataille’s Story of the Eye bears similarities with this approach. 23. See Arya (2012, p. 130) for a discussion on the anti-structural notion of a ‘body without organs’. 24. Céline was a physician and Bataille a respectable librarian at the Bibliothèque Nationale.

Concluding Remarks

1. See also Foster’s The Return of the Real (1996). 2. For an excellent account of the descent into the abject as represented by Sherman’s work see Foster (1996a, pp. 148–149). Bibliography

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Note: The letter ‘n’ following locators refers to notes. abjection and the abject, 2–4, art and abjection, 14–15, 62, 82–8, 189–91 109–10, 111–12, 193–4 ambiguous and anomalous, 46, Abject Art: Repulsion and Desire in 47–8, 89–90 American Art, Whitney Bataille, 2–3, 12, 13–14, 71–6, Museum (1993), 82, 109–12, 80, 81 113, 118; see also Whitney disgust, 13, 33–9 Show, exhibition of Abject Art dual aspect, 3–4, 6 (1993) the formless, 125–9 abject viewing, 114–15 human response to, 192–3 art-as-trauma, 194, 195–6 phenomenology of, 9–11, 13 the body, 84–8 primal moment, 15, 17–19, 20–2 censorship, 109–10 embodiment, 85–7 the sacred, 70–1 the grotesque, 55, 89–92, 134 social and cultural, 7–9, 12, motivations of the artists, 114 42–4 pervasiveness of, 113–17 subject and object, 4, 28–9 political dimensions, 108–13, 190 theory of, 4–7 precarious boundaries, 86 threat to boundaries, 6, 27–8, transgression, 84, 193 40–2, 44, 49–50, 60, use of bodily fluids, 86–8 164–5, 193 see also body/performance art and transgression of boundaries, abjection; Whitney Museum of 41–2, 192 American Art universality of, 13, 44 Artaud, Antonin, 94, 100, 157, 162 see also Kristeva, Julia, theory of Athey, Ron, 99 abjection Augustine, 120 Abramovic,´ Marina, 99, 104–5, 115 audience involvement, 104–5 Bacon, Francis Incision (1978), 105 the abject, 93–4, 102 Rhythm O (1974), 104–5 Figure at a Washbasin (1976), 94 Ades, Dawn, 93, 203 n. 9 the human body, 92–4 Alien (dir. R. Scott, 1979), 134–5, 136 Portrait of John Edwards (1988), Aliens (dir. J. Cameron, 1986), 139 93, 94 Allport, Gordon, 49–50, 61–2 Three Studies for Figures at the Base animal nature of humanity, 60, 61, of a Crucifixion (c. 1944), 93 65, 77, 81, 85, 93–4, 120, 171 Baker, Phil, 183 Aristotle, 147 Baker, Simon, 128–9 Arnold, Matthew, 167 Bakhtin, Mikhail, 55, 90

222 Index 223

Barthes, Roland ‘Base Materialism and Gnosticism’ Barthes and Kristeva, 208 n. 4 in Documents issue 1 ‘The Death of the Author’ (1930), 77 (1968), 108 Critical Dictionary in Documents, ‘The Metaphor of the Eye’ (1982), 121–2, 124, 206 n. 10 180–1 Eroticism (1987 [1957]), 42, 64, The Pleasure of the Text (1990 65, 69 [1973]), 163, 165 Madame Edwarda (1989 [1956]), Base materialism (Bataille), 77–80 175, 208 n. 13 ‘Mouth’, 78–9 ‘The Notion of Expenditure’ ‘The Big Toe’, 79–80 (1933), 65, 164 reconfiguration of the body, 78–80 Œuvres complètes (1970–1988), 58, the visual arts, 83, 90, 109, 110–11 71, 189 Bataille, Georges, and abjection, 2–3, On Nietzsche (1992a [1945]), 12, 13–14, 71–6, 80, 81, 83, 74, 167 174–5, 191 ‘The Psychological Structure of civilization, 58, 65 Fascism’ (1933–1934), 66 novels, 157, 158, 167, 175 Story of the Eye (1982 [1928]), 15, poetic language, 164 157, 175–81, 187, 206 n. 13, socio-political study, 71–4, 191 209 n. 15, 209 n. 16, 209 n. 22 Surrealism, 120 Theory of Religion (1992b [1973]), on writing, 167–8 64, 75–6 see also Base Materialism (Bataille); ‘The Use Value of D.A.F. De Sade’ formless, l’informe (Bataille); (1985), 67, 72 Story of the Eye (Bataille) Beardsworth, Sara, 17 Bataille, Georges, the sacred, 64–71, Becker, Ernest, 59, 171, 206 n. 11 74–6, 175, 191 Bellmer, Hans, 91–2, 116, 203 n. 3 communal unity, 68–9, 70, 191 Bennett, Andrew and Royle, eroticism, 69–70 Nicholas, 166–7 excess and restriction, 65, 66–8 Biles, Jeremy, 177, 179 function of sacrifice, 69 bodily waste, the flow of the body, in modern life, 64, 81 60–2, 85 pre-modern society, 13, 63 body, the recovery of, 13–14, 64–71, 81 abjection, 12, 60, 62 relationship with abjection, 65, boundaries under threat, 60, 193 70–1, 74–5 the carnivalesque, 55–6, 65, 141 threats to homogeneity, 67–8, the corpse, 25, 27, 29, 41, 60, 61, 72–3 190, 193 transgression of boundaries, 75–6, cultural attitudes to, 58–60 81, 100 the leaking body, 57–62, Bataille, Georges, works 92, 193 ‘L’Abjection et les formes locus of transgression, 55–6 misérables’ (1934), 71 mind/body separation, 51–2, 64–5, The Accursed Share Vols. I (1991 77–8, 171 [1967]), II-III (1993 [1976]), regulation/ ’civilization’, 53–7, 60, 65, 67 62, 65, 81, 192 224 Index

body, the – continued Breton, André, Second Manifesto of as a regulatory system, 51–7 Surrealism (1929), 120 sociology of, 52–3 Buchloh, Benjamin, 118 body in art, the, 82, 83, 84 Buñuel, Luis abject art, 85–8 Un Chien Andalou (1929), 124 fragmentation and dissolution, The Phantom of Liberty (1974), 90–4 130–1, 152 the grotesque, 89–90 Burden, Chris, 96, 99 as locus of abjection, 84–8 Deadman (1972), 96 representations of the body in Shoot (1971), 96, 100 Western art history, 88–94 Burke, Edmund, 150 body/performance art and abjection, Burroughs, William, 181–6, 187, 14–15, 95–101, 111 188, 208 n. 3, 209 n. 17 AIDS and the male body, 98–9 Junky (1953), 182, 209 n. 19 catharsis, 14, 94, 100–1, 108, Naked Lunch (1982 [1959]), 15, 147, 152 158, 166, 174, 182–6, 187–8, expression of the artists’ identity, 209, n. 20 96–7, 109 Butler, Judith, 7–9, 72, 190–1, feminist art, 97–8, 115–16 200 n. 6 male artists mocking the paternal law, 116 Calder, John, 187, 188 orgiastic violence and catharsis, cannibalism and capitalism, 153–4 100–1 carnivalesque/Dionysian liberation politics, 108–13 of the body, 55–6, 65, as provocation, 96, 109 141, 192 sado-masochistic, 95, 96–7 Carrie (dir. B. de Palma, 1976), 132, self-expression and identity, 96–7, 134, 141–3, 151, 207 n. 4, 207 n. 108–9 10, 207 n. 11 ’theatre of cruelty’, 100–1 Carroll, Noël, 136, 147, 150, 166, the use of pain, 95–7 199 n. 18, 207 n. 15 the viewing experience, 101–18 Céline, Louis-Ferdinand, 15, 71, 157, see also performance/body art 158, 168–70, 181, 187, 188, 208 Bois, Yve-Alain n. 6, 208 n. 8, 209 n. 24 on Kristeva’s theory, 30 Céline, Louis-Ferdinand, Kristeva’s L’informe exhibition, 118 study of, 168–71, 172–4 ‘The Use Value of “Formless”’, 122 anti-Semitism, 168, 169–70 and Krauss, R. Formless: A User’s view of abject humanity, 170–2 Guide (1997), 118, 120, 122, writing style/technique, 173–4, 123–4, 128 184, 208 n. 11 Borges, Jorge Luis, 157 Céline, Louis-Ferdinand, works Botting, Fred and Wilson, Scott, 72 Death on the Installment Plan (1971 boundaries [1936]), 172–3, 208 n. 9 abjection, 6, 27–8, 40–2, 44, Journey to the End of Night (2012 49–50, 60, 194 [1932]), 157, 170–2, 173, classificatory systems, 44–51, 80–1 187, 188 Brassaï, Nu 115 (1932–1933), 124–5 censorship, 109–10 Index 225

Chadwick, Helen, 115 Dostoyevsky, Fyodor, 157, 188 Chanter, Tina, 133, 144 Douglas, Mary, 13, 43–8, 49–51, 57, Chapman, Jake and Dinos, 113 60, 63, 89–90, 136, 197–8 n. 10, Chicago, Judy, 97–8, 204 n. 17 199 n. 3, 200 n.7, 201 n. 24, civilization and the body, 53–7, 58, 202 n. 8 81, 189, 192 Dubuffet, Jean, 124 classification systems, 44–51, 80–1 Durkheim, Émile, 52, 65, 69, 192, Indian caste system, 45, 81, 200 n. 10, 204–5 n. 21 199 n. 1 Dworkin, Andrea, 177 Jewish food laws, 47–8, 81 Coleridge, Samuel Taylor, 148 Eisenstein, Carl, 120 Conrad, Joseph, 159 Elias, Norbert, 54–5, 56–7, 62, Creed, Barbara 200 n. 14 abjection and the eroticism, the abject and the sacred, monstrous-feminine, 15, 32, 69–70 131–2, 137–9, 141, 155, 207 n. exhibitions 2, 207 n. 8 Abject Art: Repulsion and Desire in the archaic mother, 131–2, 137, American Art, Whitney 139, 144 Museum (1993), 82, 109–12, film theory and abjection, 15, 32, 113, 118 131–2, 134, 144–5, 154–5 Freeze, London Docklands (1988), on viewing horror in film, 151–2 112–13 Cronenberg, David, 135–6, 149, L’informe: Mode d’emploi Centre 207 n. 6 Georges Pompidou (1996), 15, see also The Fly (dir. D. 82, 112, 118–19 Cronenberg, 1986) Rites of Passage: Art for the End of a Century, the Tate (1995), 82, Dali, Salvador, and Buñuel, Luis, 124 112, 116 Darwin, Charles, 10, 35, 48–9, Sensation, Royal Academy (1997), 199 n. 15 112, 113 de Kooning, Wilhelm, 92 The Exorcist (dir. W. Friedkin, 1973), Deleuze, Gilles, 53, 94, 185, 186, 132, 134, 137, 140–1, 142–3, 203 n. 9 148, 207 n. 4 Descartes, René, 51 dirt and pollution, 43–51 Falk, Pasi, 42, 67, 202 n. 9 the body, 49–50, 51–61 film theory and abjection, 131–2 categories and boundaries, 44–51 the dinner party, 130–1, 152–3 classification of food, 47–9, 51, social abjection, 15, 145–6 200 n. 4 socio-political role, 133 cultural systems and practices, 45 The Fly (dir. D. Cronenberg, 1986), scientific understanding, 46 135–6 disgust and abjection, 13, 33–9, Ford, Russell, 144 57, 192 formless, l’informe (Bataille), 15, 80, Documents, co-edited by Bataille 110–11, 112, 118, 119–25 (1929–1930s), 71, 77, 78–9, Bataille’s account, 121–2, 128, 129 120–1, 123, 204 n. 11, 206 n. 10 evades classification, 128 226 Index

formless, l’informe (Bataille) – Helms, Jesse, 109, 112 continued Hirst, Damien, 112–13 ‘horizontality’, 119, 120, Hobbes, Thomas, 53–4 122–3, 125 Hollier, Denis, 71, 118, 122, Kristevan abjection, 15, 118, 119 205 n. 29 reaction to modernism, 120, 123 Hopkins, David, 108, 206 n. 6 Foster, Hal horror films and abjection, 15, abjection/the abject, ix, 3–4, 30, 132–43, 152–5, 193 38, 111–12, 115–16, 126–8, Alien, 134–5, 136 205 n. 26 ‘alien’ births, 139 the formless and the abject, 118, Carrie, 132, 134, 141–3, 151, 207 125, 128 n. 4, 207 n. 10, 207 n. 11 the gaze, 102, 111–12, 194–5 The Exorcist, 132, 134, 137, 140–1, Hans Bellmer, 91 142–3, 148, 207 n. 4 Franko B, 106, 115 female adolescence, 140–3 Freeland, Cynthia, 144, 154 The Fly, 135–6 Frege, Gottlob, 161 the monster, 15, 133–7, 147, 149 Freud, Sigmund, 19, 22–3, 26, 27, the monstrous-feminine, 131–2, 31, 32, 33, 35–6, 54, 66, 69, 70, 137–9, 143, 144, 152, 154, 155 77, 122, 137, 138, 190, 192 One Flew Over the Cuckoo’s Nest, Friedrich, Caspar David, 6–7 145–6, 207 n. 4, 207 n. 14 Psycho, 132, 138–9 Giacometti, Alberto, Suspended Ball Rosemary’s Baby, 134, 139–40, 142 (1930–1931), 124 The Texas Chainsaw Massacre, Ginsberg, Allen, 181, 184 152–5 Gintz, Claude, 119 transgression of boundary, 132 Gober, Robert, 98 see also viewing horror, audience Goldberg, Rosie, 100 motivation Greenberg, Clement, 84, 119, 124, Hume, David, 149–50 206 n. 5 Hussey, Andrew, 164 Griffiths, Paul, 36, 37 Grosz, Elizabeth, 11, 29, 31, 61, 160, the informe, see formless, l’informe 198 n. 10, 201 n. 24, 202 n. 25, (Bataille) 207 n. 9 grotesque in art, the, 89–92 Jay, Martin, 94, 169 Gysin, Brian, 184 Jenks, Chris, 42 Jones, Amelia, 116 Hallier, Jean-Edern, 163 Journey to the End of Night (2012 Hanich, Julian, 10, 132, 150, 199 n. [1932]), 157, 170–2, 173, 14, 207 n. 3 187, 188 Haraway, Donna, 90, 207 n. 8 Harris, Oliver, 182 Kafka, Franz, 156, 157 Harvey, Marcus, 113 Kant, Immanuel Hatoum, Mona, 116–17, 205 n. 34 Critique of Judgment (1952 Hegarty, Paul, 42 [1790]), 120 Helena Rubinstein Fellows, 109 the sublime, 6 Index 227

Kelly, Daniel, 35 maternal body, rejection of, 5, 12, Kerouac, Jack, 181 16, 17–19, 24–7, 28, 29, 30–1, Klein, Melanie, 18 31–2, 132, 139 Kolnai, Aurel, 35, 37, 39, 50–1, 192, phenomenology of abjection, 199 n. 16, 200 n. 7, 201 n. 24, 9–13 206 n. 3 reworking Lacan, 22–7 Korsmeyer, Carolyn semiotic and symbolic, 20–2, Savoring Disgust: The Foul 23–4, 31, 32, 62, 158, 159–64 and the Fair in Aesthetics the speaking subject, 16–17, 20, (2011), 35 29, 65 and Smith, Barry ‘Visceral Values: subjectivity and language, 16–17, Aurel Kolnai on Disgust’ 20–2 (2004), 36–7 threat to subject’s boundaries, Krauss, Rosalind 27–9, 108 see also Céline, Louis-Ferdinand, the abject, defined in terms of Kristeva’s study of subject-object positionality, 198 n. 11 Kristeva, Julia, works About Chinese Women (1977), 31, the abject and the formless, 119, 208 n.1 125–6, 127, 128 Black Sun: Depression and Bataille’s concept of abjection, Melancholia (1987; 1989), 71, 124 17, 24 debunking modernist reading, Powers of Horror: An Essay on 110–11 Abjection (1980; 1982), viii–x, Kristeva’s theory, 3, 30, 2–3, 4, 9–13, 14, 17, 21, 22, 125–6, 127 25, 27–8, 34, 36, 41, 42, 43, social abjection, 197 n. 7 44, 57–8, 60, 61, 71, 76, 88, with Yve-Alain Bois, Formless: A 156–7, 159, 162, 163, 164, User’s Guide (1997), 118, 120, 168, 169, 199 n. 12, 199 n. 14, 122, 123–4, 128 208 n. 1 Kristeva, Julia, theory of Revolution in Poetic Language abjection, viii–x, 4–6, 9–12, 17, (1984), 16, 20, 21, 161, 162, 33–4, 64, 70, 71–2, 74, 85, 112, 163, 164, 198 n. 1 189, 191 Strangers to Ourselves (1991), 190, the abject in art, 14, 76, 96 197 n. 9 the artist, 83–4 Tales of Love (1983), 17, 27 Bataille, 71–2 Kubota, Shigeko, Vagina Painting criticism of the theory, 30–2, (1965), 97 125–7 disgust, 34 Lacan, Jacques formation of the subject, 12, 20, psychoanalytical theory, 21, 22, 26, 62, 65 22–7, 31 language, 16, 20, 21–2, Mirror Stage, 22–4 159–64 The Four Fundamental Concepts of literature style and transgression, Psycho-Analysis 156–9, 167 (1979[1973]), 194 228 Index

Lacan, Jacques – continued Manet, Edouard, Olympia (1863), 83, ‘the gaze’, 102, 194 202–3 n. 1 influence on Kristeva, 198 n. 6 Mapplethorpe, Robert, 110, 116 Lampert, Catherine, 87 maternal body, 47, 62 language see also Kristeva, Julia, theory of linguistic and non-linguistic, 20–2, abjection 159–64 Mauss, Marcel, The Gift: Forms and the subject, 16–17, 20–2, 190 Functions of Exchange in Archaic Lautréamont, Comte de, 157, 164 Societies (1988 [1967]), 202 n. 3 Leavis, F. R., 167 Menninghaus, Winfried, 28–9, 35, Lechte, John, ix, 17, 31, 164, 208 n. 36–7, 38–9, 69–70, 123, 192, 4, 208 n. 11 197 n. 8 Leiris, Michael, 93, 120 Merrit, Naomi, 153, 154 literature and abjection, 156–88 Miller, Henry, 166 avant-garde/experimental, Miller, William Ian, 35, 37–8, 39, 50, 158–9, 163 54–5, 104, 151, 192, 200 n. 5, Bataille, 166, 167–8 201–2 n. 24 Céline, Louis-Ferdinand, Kristeva’s Molesworth, Helen, 118 study of, 168–74 monster in horror films, 15, 133–7, Kristeva’s literary analysis, 147, 149 156–9 contaminating potential, literature of horror, 187–8 133–5, 136 Naked Lunch (Burroughs), 15, 158, semiotic versus Symbolic, 136–7, 166, 174, 182, 183–6, 142–3 187–8 threat to stability of boundaries, reading and the reader, 164–8 133–4, 136 the semiotic and the symbolic, 159–64 social critique, 187–8 Naked Lunch (Burroughs), 182, Story of the Eye (Bataille), 15, 157, 183–6, 187–8 175–81, 206 n. 13, 209 n.15, abjection, 185–6, 187–8 209 n.16, 209 n. 22 an anti-novel, 183–4 writing style, 158, 163 experimental technique, 84–5 the written word, 158–9 illogic of the body, 185–6 Lydenberg, Robin, 185 obscenity charge, 186 Nietzsche, Friedrich, 52, 100, McCarthy, Paul 200 n. 9 Family Tyranny (1987), 116 Nitsch, Hermann, 101, 107 Pinocchio Pipenose Household Noys, Benjamin, 126 Dilemma (1994), 116 Nussbaum, Martha, 35 themes in work, 95, 107, 116, 205 n. 27 McGinn, Colin, 35, 59, 62, 81, 87, Offenbach, Jacques, The Tales of 199 n. 20, 201 n. 22 Hoffmann (1819–1980), 91 Mallarmé, Stéphane, 157, 164 Ofili, Chris, The Holy Virgin Mary Maloney, Martin, 113 (1996), 113 Index 229

Oliver, Kelly Rabelais, François, 55, 188 Kristeva’s use of the term ‘the Radford, Colin, 148 symbolic’, 24 Reader, Keith, 72, 177, 199 n. 13 Trigo, Benigno, Noir Anxiety reading and the reader, 164–8 (2003), 144 abjection and Bataillean One Flew over the Cuckoo’s Nest (dir. communication, 167–8 M. Forman, 1975), 145–6, 207 n. an ‘aesthetic of evil’, 167–8 4, 207 n. 14 antithetical pleasure, 165–6 Orlan, 107, 115 the function of literature, 166–8 other, fear of the, 7, 190 ‘Real’, the political aspects, 108–9, 190–1 in contemporary art, 106, Otto, Rudolf, 5, 150 193–4, 195 in psychoanalysis, 23, 24–6, 102 Pane, Gina, 96, 99, 102–3 and trauma, 194 audience involvement, 102–3, 105 Rembrandt, Slaughtered Ox (1655), 89 Lait Chaud (1972), 102–3, 105 Richardson, Michael, 77–8, 175, 202 Nourriture/Actualités télévisées/Feu n. 4, 208 n. 13 (1971), 96, 116 Richman, Michèle H., 179, 180–1 paradoxes of fiction and horror, 147, 148, 149 ritual, role in pre-modern societies, performance/body art, 95, 99–101, 63–4 102–8, 204 n. 14, 205 n. 24 Rosemary’s Baby (dir.R.Polanski, audience-artist relationship, 1968), 134, 139–40, 142 101–18 Ross, Christine, 87, 88, 126, ‘the real’, 106, 107, 194 199 n. 19 threat to boundaries, 108 Roudiez, Leon, 162 use of technology, 106–7 Royle, Nicholas, see Bennett, Andrew the viewing experience, 101–18 and Royle, Nicholas see also body/performance art and Rozin, Paul (studies on disgust abjection carried out individually or The Phantom of Liberty (dir. L. collaboratively), 30, 33, 35, 50 Buñuel, 1974), 130–1 Plantinga, Carl, 150 Saatchi, Charles, 112 Plato sacred, the, 63–4 the chora in Timaeus,20 see also Bataille, Georges, the Phaedo,51 sacred poetic language (Kristeva), 163–4 political dimensions of abject art, Sade, Marquis de, 72–3 108–13, 190 Sartre, Jean-Paul, 35, 87, 156, 197–8 Pollock, Jackson, 124 n. 10 drip paintings, Number 27 Saville, Jenny, 115 (1950), 110 Scarry, Elaine, 22, 86 reinterpretation, 110–11 Schilder, Paul, 4–5, 7 pollution and taboo, 43–8 Schneemann, Carolee, 115 Psycho (dir. A. Hitchcock, 1960), 132, Interior Scroll (1975), 98 138–9 Meat Joy (1964), 101 230 Index

semiotic and symbolic (Kristeva), Symbolic order overturned, 178–9 20–2, 23–4, 31, 32, 62, 159–64 transgression, somatic/ art and literature, 162–4 semantic, 179 identity and order, 62, 160 symbolic, see semiotic and symbolic interaction, 20, 21–2, 160–2, (Kristeva) 163–4 symbolic, the, order of patriachy and language and syntax, 24, language, 32, 62, 160, 163, 160–1, 164 164, 195 Serrano, Andres, Piss Christ (1987), 109, 110, 111 Taxi Driver (dir.M.Scorsese, Sherman, Cindy, 110, 115, 124, 194 1976), 145 Untitled Film Stills (1977–1980), Taylor, Simon, 98, 109–10 194, 209 n. 2 ‘technologization’ of the self, 106–7 Sibley, David, 145 Tel Quel, 163 Smith, Barry, 36, 37 The Texas Chainsaw Massacre (dir. T. see also Korsmeyer, Carolyn Hooper, 1974), 152–5 Smith, Kiki Thomas, Calvin, 8–9, 72, 98, 191 the abject body, 2, 87–8, 110, Titanic (dir. J. Cameron, 1997), 150 114, 115 transgression of boundaries, 40–2, Pee Body (1992), 1–2, 5, 87 75, 81, 83, 192 Tail (1992), 87 in abject art, 84 Train (1993), 87 Trigo, Benigno, 144 Untitled (1990), 87–8 Turner, Bryan, 52, 53, 85–6, Virgin Mary (1993), 87 200 n. 11 social abjection in film, 143–6 Turner,J.M.W.,6 socio-political study and abjection, Turner, Victor, 202 n.1 7–9, 191 Tyler, Imogen, 9, 32 Sollers, Phillippe, 163 Sontag, Susan, 159, 162, 177, 193 van Alphen, Ernst, 102 Spence, Jo van Gennep, Arnold, The Rites of abject art, 115 Passage (1992), 64, 202 n.1 ‘photo-therapy’, 99, 115 Viennese Actionists, 100–1 The Picture Of Health (1982), 99 viewing horror, audience Putting Myself in the Picture motivation, 147–52, 195 (1986), 99 abject viewing and Stelarc, 107 body/performance art, 101–8 Story of the Eye (Bataille), 157, attraction-repulsion dynamic, 175–81 150–2, 195–6 abjection and fear of death, 177–8, paradox of negative pleasure, 187, 188 149–50 demonization of female sexuality, suspension of disbelief, 107, 148–9 176–7 destabilizing use of metaphor, Walton, Kendall, 149, 150 180–1 Warhol, Andy, 124 plot, 175–7 Oxidation Paintings (1970s), 111 pornographic imagery, 176–7 Weber, Max, 65, 200 n.15 Index 231

Whitney Museum of American Winterson, Jeanette, 58 Art, 109 Wright, Elizabeth, 31 Whitney Show, exhibition of Abject Art (1993), 82, 109–12, Young British Artists, 113, 118 112, 113