helena eagan: an essay on abjection

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helena eagan: an essay on abjection

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Julia Kristeva, Powers of Horror
Julia Kristeva, Black Sun: Depression & Melancholia
“Absent from other people’s meaning, alien, accidental with respect to naive happiness, I owe a supreme, metaphysical lucidity to my depression. On the frontiers of life and death, occasionally I have the arrogant feeling of being witness to the meaninglessness of Being, of revealing the absurdity of bonds and beings.
My pain is the hidden side of my philosophy, its mute sister. In the same way Montaigne’s statement “To philosophize is to learn how to die” is inconceivable without the melancholy combination of sorrow and hatred — which came to a head in Heidegger’s care and the disclosure of our “being-for-death.” without a bent for melancholia there is no psyche, only a transition to action or play.
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My depression points to my not knowing how to lose [something essential] – I have perhaps been unable to find a valid compensation for the loss? It follows that any loss entails the loss of my being — and of Being itself. The depressed person is a radical, sullen atheist.”
- Julia Kristeva, Black Sun: Depression and Melancholia
Black Sun: Depression & Melancholia, by Julia Kristeva

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Julia Kristeva, Black Sun: Depression & Melancholia
“How can I be without border? That elsewhere that I imagine beyond the present, or that I hallucinate so that I might, in a present time, speak to you, conceive of you—it is now here, jetted, abjected, into ‘my’ world. Deprived of world, therefore, I fall in a faint. In that compelling, raw, insolent thing in the morgue's full sunlight, in that thing that no longer matches and therefore no longer signifies anything, I behold the breaking down of a world that has erased its borders: fainting away. The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life. Abject. It is something rejected from which one does not part, from which one does not protect oneself as from an object. Imaginary uncanniness and real threat, it beckons to us and ends up engulfing us.” - Julia Kristeva, Powers of Horror: an Essay on Abjection
“There looms, within abjection, one of those violent, dark revolts of being, directed against a threat that seems to emanate from an exorbitant outside or inside, ejected beyond the scope of the possible, the tolerable, the thinkable. It lies there, quite close, but it cannot be assimilated. It beseeches, worries, and fascinates desire, which, nevertheless, does not let itself be seduced. Apprehensive, desire turns aside; sickened, it rejects. A certainty protects it from the shameful — a certainty of which it is proud holds on to it. But simultaneously, just the same, that impetus, that spasm, that leap is drawn toward an elsewhere as tempting as it is condemned. Unflaggingly, like an inescapable boomerang, a vortex of summons and repulsion places the one haunted by it literally beside himself.
When I am beset by abjection, the twisted braid of affects and thoughts I call by such a name does not have, properly speaking, a definable object. The abject is not an ob-ject facing me, which I name or imagine. Nor is it an ob-jest, an otherness ceaselessly fleeing in a systematic quest of desire. What is abject is not my correlative, which, providing me with someone or something else as support, would allow me to be more or less detached and autonomous. The abject has only one quality of the object — that of being opposed to I. - Julia Kristeva, Powers of Horror: an Essay on Abjection