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And in my third chapter I use the Kristevan idea of abjection from her work Powers of Horror to accentuate the peculiar blend of "torture and delight," "divine ecstasy and extreme horror" exhibited in Eliot's sick saints.
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In my second chapter I have made use of the ideas from Lacan's first and third seminars to explore the symptoms of psychosis and neurosis in Eliot and his early poetic personas, Sebastian and Narcissus. My psychoanalytic reading is also grounded in the works of Jacques Lacan and Julia Kristeva, as well as the French Surrealist, Georges Bataille. His discussion of the differences between "classical mysticism" and "romantic mysticism" in The Clark Lectures is an important touchstone in the explorations of the essay. I have drawn heavily from Eliot's own writings: his poetry, his essays, and also some of his lectures. The research includes a number of primary, secondary, and tertiary texts. Their psycho-sexual, masochistic fixation clashes with the more austere, detached portrayals of sexuality in his later poetry, and the confessional nature of the poems also conflicts with his declared poetics of impersonality that he describes famously in his essays "Tradition and the Individual Talent" and "The Functions of Criticism." This essay undertakes a psychoanalytic reading of both of these poems, and also explores the persistence of their influence in his later work. Sebastian" and "The Death of Saint Narcissus." One of the problems that arises in an appraisal of these poems is that they rest uneasily alongside his more prominent texts. Eliot's early, uncollected poems, entitled "The Love Song of St. The purpose of this essay is to perform a close examination of two of T. Critically enabling one to see how security and terror form a (geo)political continuum of violent mobilization, utilization, and often destruction of human and non-human bodies and lives, this book will be of interest to graduates and scholars of bio politics, international relations and security studies. It works with contemporary post-(geo)political figures of horror-faces of concentration camp dwellers, body parts of victims of terror attacks, the outcome of suicide bombings, graphic reports of beheadings, re-compositions of melted and mingled remnants of non-human and human matter after 9/11-to challenge regimes of terror and security that seek to forcefully and ideologically reaffirm a biopolitics and thanatopolitics of human life in order to anchor today’s often devastating deployments of the metaphysics of substance.
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Through several contemporary instances of dismantling of human bodies and pulverization of body parts, this book makes several interrelated theoretical contributions. Looking at horror’s production of bodily fragments, both against and beyond humanity, the book is also about horror’s own attempt at re-forming or re-creating matter, from the perspective of post-human, non-human, and inhuman fragmentation. To track horror’s work, what horror decomposes and, perhaps, recomposes, Debrix goes beyond the idea of the integrality and integrity of the human body and it brings the focus on parts, pieces, or fragments of bodies and lives. Global Powers of Horror examines contemporary regimes of horror, into horror’s intricacies, and into their deployment on and through human bodies and body parts.