• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.19-30
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• 2002

This is the research of Abject Art which was originated aesthetically in Abjection Theory of Julia Kristeva, a french psycho-analyst who argued liberational discussions about feminine identity against patricentric ideology which had fastened existing beautiful and elegant oedipal-feminine image and femininity as the secondary sex or the other's sex. and which became known by the planning display at whitney Museum of American in 1993. In Julia Kristeva's Abjection Theory which was written in her book(Power of Horror : An Assay on Abjection, 1992), she named pre-oedipal stage in which there is no sexual difference and has the same significance to both sexes instead of the oedipal stage which is becoming male-supreme reality as the semiotic and reinterpreted that an infant disregards feminine body--mother's body (Julia Kristeva, named it as Chora) as the love and the pain which carries her baby in herself and creates the baby which belonged to herself--which belongs to the semiotic to enter the symbolic smoothly. So the Abjection art is partly consist of some works which express the concertion of the boundary rebated with infant Identity which is not yet the other perfectly nor the subject perfectly, and of some works called Excretory Arts which express the excretion and vomiting which is the original experience of the abject. I expect that this research can be the chance of breaking from the fastened identity which was granted on female and feminine costume in this masculine-view centric society and creating the new position of costume and dress in the field of art by analyzing the costumes especially among these works.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.517-522
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• 2012

The work to be analyzed in this study is an animation showed in 2006, which was made by Director Satoshi Kon on the basis of a Japanese SF novel written by Yasutaka Tsutsui. The key point is to create a new meaning through showing imaginative power of audiences from the world flying across the borderland between reality and fiction. It regarded suitable for analysis of the borderland appearing in the unconscious world of dream and reality through "abjection". Therefore, this study intends to analogize the conclusion through analysis of the animation focusing on the theory of Julia Kristeva. Abject appears as the phenomenon which cannot be disappeared and the one threatening to disunite which the subject had already organized in the symbolic. The self-feeling of characters is not stable and it keeps watch constantly on the one which may neutralize his caution. They are looking for the power to strengthen the life granting to the subjecthood by chora as the resisting power against the symbolic order. That is, the dreaming space where revengeful power of primitive libido is working and shows mother as Paprika as well as enters through DC mini, works as the semiotic chora as "maternal body". The healing of mental lack in the symbolic caused from here is connected on the borderland to divide between meaning and meaningless as well as normality and abnormality in the semiotic and this is the maternal power of the semiotic. Therefore, "abjection", "abject" and "chora" as well as care and healing of the other self appearing in the subjectivization process in the can be regarded as the one caused from the love towards the subject to be analyzed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.269-278
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• 2019

This study is intended to present the direction of art mask design development and help people's life care by producing an art mask with the motif of the characteristic of abjection concept. It went through the definition and characteristics of abject and abjection focusing on previous research, professional books and art works. The characteristics of abjection based on theoretical research are to express death with dead bodies and skulls, including the dismantling of ideal beauty standards, the expression of fragmented bodies, and the expression of sick and alienated bodies. This researcher produced 6 research works by combining the fascinating abjection, induced by ugly and disgusting abject, to design factors. These works fragmented each part of the facial form by the cutting and dismantling, and made viewers feel the abjection by giving a grotesque deformation. The results obtained through the research works are as follows. First, It was found that the abjection characteristics-applied works was helpful in the treatment of the mental wound of modern people. Second, the production of works based on the abjection characteristics paved the way to expand the scope of art mask design concepts and establish the new design ideas. Third, the application of the motif using the abjection characteristics to the art mask design showed that the use of various objects could express creative designs and secure diversity in using materials. In the future, this researcher hopes that such research will be used as the basic data of the follow-up study on art mask design, and it will help develop art mask designs.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.43-54
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• 2009

The purpose of this study was to clarify the meanings of the images of the body-in-pieces in fashion design. This study focusing on the body-in-pieces based theoretically in that, and started to figure out the meanings in western art history. Body-in-pieces images were brought in art to express symbolic meanings to destroy the past, sexual fetish, unconsciousness, desire, fantasy, and to disorganize male-subjective idealistic female image. While in fashion design, body-in-pieces images categorized in three, erotic image, cyborg image, abjection image. First, erotic images in fashion design are fragmented body image, such like lip, hair, eye and etc. Second, cyborg image was represented by 3-dimentional molding image made of metallic materials, and last, abjection image representing death image used skeleton and bone image induced uncanny and sadistic feelings. Body-in-pieces images in fashion design are related to fetishism, uncanny, disorganizing traditional femininity.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.827-835
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• 2008

The purpose of this paper is to clarify the aesthetic characteristics of splatter films' make-up. Splatter films are one of horror movies that consist of gore and excessive violence. These represent the cruelty with the victims' physical damages made by special effect make-up. Splatter make-up is classified into the trickle of blood, the cutting of body, and the exposure of the inner parts of body, and changes a fake into a fact with reality. The aesthetic characteristics of splatter make-up were shown in the uncanny, the abjection and the irony. The uncanny which is strange and displeasure feeling is presented by the fragmentation of body, and the living of nonliving thing. The abjection means humble image, and the concept of border or ambiguity. The former is expressed by the matters of body's secretion and excretion. The latter is shown by the use of blood(the life and death) and corpses(the human and inhuman), and animatronics(the human and instruments). The irony which is a sense of humor caused by conflict between external appearance and reality. This is represented by comics induced by discord between excessive violence and make-up tricks, and the brutality and the weakness.

• Journal of English Language & Literature
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• v.57 no.2
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• pp.285-314
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• 2011

The purpose of this paper is to analyse the mother-daughter structure presented in Annie John, Kincaid's autobiographical novel as a metaphor for the relationship between the powerful colonizer and the powerless colonized. The representation of the mother in Annie John is ambiguous and ambivalent. On the one hand, the mother in the childhood, in its association with the African-rooted Caribbean world before Antigua was colonized, is represented as a person who nurtures the daughter, and embodies a paradisiacal pre-oedipal union with the daughter. On the other hand, the mother at the adolescent stage, placed in the specific colonial context of the Caribbean, is represented as a scornful person/colonizer who dominates and controls the daughter's behavior to keep her as a dependent and subjugated subject. Therefore, the two conflicting worlds, the African and the European, coexist in the contradictory figure of the mother. The theoretical basis of my argument is a mixture of Chodorow's and Kristeva's feministic psychoanalysis and Bhabha's notion of "mimicry" and "ambivalence." Kristeva's work on "abjection" is especially useful and helpful for contextualizing Annie's individuation and separation from the mother who is represented as enigmatic.

• Proceedings of the Korea Society of Costume Conference
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• 2000.05a
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• pp.38-38
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• 2000

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.83-96
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• 2004

Upon the threshold of late 20th century, the social, cultural and artistic trend began to pursue aesthetic pluralism and deconstructivism, and thus, fashion also began to reflect such a trend only to express cruel, detestable, horrible and ugly aesthetics. Under such circumstances, this study focused on the cruel images appearing in the modern fashion and thereby, attempted to determine their causes in reference to Julia Kristeva's theories. Her theories of women explain that women have incessant desires or blind obsessions about penis due to the bisexual instinct inherent in their subconsciousness, and thereby, discuss sado-masochism, a characteristic of women's violence and cruelty. In addition, she determines of abject, detestable and horrible nature of women by explaining their struggle to be separated from mothers at the stage of Oedipus (sexual differences). Based on such theories about women's cruelty, the cruel images shown in the modern fashion are categorized into sado-masochism, the violent and destructive image, and abjection, the women's apparels made of unpleasant, terrible and creepy materials decorated, to be reviewed systematically.

• Cross-Cultural Studies
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• v.50
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• pp.483-507
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• 2018

Shylock in Shakespeare's play, The Merchant of Venice has been considered as either a devilish villain, or as a victim who was persecuted unfairly by the Christian society in Venice. By focusing on the matter of the Other, which has been summarily overlooked in literary texts and the literary criticism, it is noted that the New Historical and Cultural criticism interpreted Shylock as the racial, religious, and economic Other in the Venetian society which at the time was dominated by Christian ideals. The purpose of this paper is to show how Shylock becomes an abjected Other, that is, the abject, based on Julia Kristeva's theory of abjection. According to Kristeva, an abjection is the process of expulsion of otherness from society, through which the subject or the nation tries to set up clear boundaries and establish a stable identity. Shylock is marginalized and abjected by the borders drawn by the Venetian Christian society, which in a strong sense tries to protect its identity and homogeneity by rejecting and excluding any unclean or improper otherness. The borders include the two visible borders like the Ghetto and the red hats worn by the Jews, and one invisible border in the religious and economic fields. By asking for one pound of Antonio's flesh when he can't pay back 3,000 ducats owed, Shylock tries to cross the border between Christians and Jews. Portia frustrates Shylock's desire to violate the border by presenting a different interpretation of the expression, 'one pound of flesh,' from Shylock's interpretation. And in doing so she expels him back to his original position of abject.

• The Southeast Asian review
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• v.21 no.2
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• pp.263-291
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• 2011

The purpose of this study is to see and compare the contemporary Korean-Thai female poems from a feminine standpoint to newly clarify the textuality of their poems. The textuality defined in this manuscript is the text of Korean-Thai contemporary female poems. To newly clarify the textuality of their poems are to go against the existing discussion method and to newly read out the text as re-vision method. This discussion is to analyse deeply how the central exis composing a text which is the identity of woman in a body, appearance of uttrance, or action of abjection is exposed in gender space and to identify the poem's textuality. In other words, through in-depth analysis of the text of poems, which are very complicated as a skein of yarn, place a high value of Korean-Thai female poems. Transcending time, nations and races, if the text of female poem would not free from a biased male-dominated thinking or make a mystery of female poem textuality without critics or tend to be stereotype the text of poem as pathos of female, it would not get out from man-centered reading. To escape from the state of sexual discrimination, the new reading method was seriously analysed and found out that the female text poems not only implicate sexual discrimination but also link to expansive cultural and social structure. And for that reason, this study raise a question to male-dominant sexual discriminated norm. It is very significant that through this elaborate and in-depth text poem analysis, a creation process of female poem is traced. Eventually, the comparative study on Korean-Thai female poems is meaningful and worthy in regard to the contribution to promotion of cultural exchange between korea-Thai two nations and furthermore extend to East Asia to make a basement for the vitalization of Asia comparative literature.