This book examines Julia Kristeva’s theory of abjection in several works by early British writers from the Restoration to the Romantic era. This period saw an increased emphasis on understanding the self. Poems with anxious speakers or narratives featuring characters with considerable psychic pressures emerged as writers responded to ideas on consciousness by natural philosophers. The pursuit of self-knowledge also reached greater imaginative depths, inspiring new artistic movements, including sensibility, with its attention to expressions of the suffering self, and the Gothic, a mode of art that examines the self’s deepest fears. Romantic writers theorized about artistic genius, creating a cult of the self that has never left us. Kristeva offers a more complete psychoanalytic vocabulary for understanding the self’s unconscious motivations in literature written during this period, and this book provides readers interested in early British literature, philosophy, and literary theory with a constructive perspective for thinking about literary depictions of the self-in-crisis.
The Cambridge Companion to Women's Writing in Britain, 1660-1789. Ed. Catherine Ingrassia. (Cambridge: Cambridge University Press, 2015), 164-79. Pearson, Jacqueline. The Prostituted Muse: Images of Women and Women Dramatists 1642-1737.
... Fiction. She co-edited the volume Monsters of Film, Fiction, and Fable: The Cultural Links between the Human and Inhuman in which her articles, “Killing Tinker Bell: ReMythologizing the Fey in a Technocentric Age” and “What Happens When ...
This volume examines the ways in which trauma alters women’s identities.
This collection features studies on trauma, literary theory, and psychoanalysis in women's writing.
Until now, however, romance has been badly neglected as a subject for serious academic study. This original collection aims to redress this imbalance by focusing on the changing nature, or "rescripting" of romance in film & fiction.
Abjection and Representation is a theoretical investigation of the concept of abjection as expounded by Julia Kristeva in Powers of Horror (1982) and its application in various fields including the visual arts, film and literature.
Octavio Paz launches a far-ranging excursion into the "incestuous and tempestuous" relations between modern poetry and the modern epoch.
The contributors to this volume investigate the role of comparative practices in the formation of eighteenth-century literature and culture.
How has the story changed over the course of the twentieth century? She investigates the manner in which the violation of the female body serves as a metaphor for a synthesis of masculinity and political economy.
The book develops a new account of Baudelaire's significance as a modernist by dislodging him both from his traditional status as a practitioner of "art for art's sake" and from his more recent incarnation as the poet of trauma.