On Abjection
\nIssue editors: Rina Arya and Nicholas Chare<\/p>\n
This issue On Abjection aims to invigorate debates about abjection and show the resonance and impact that the concept continues to have for thinking about the performing arts. There has been a tendency to equate abjection with its products; to employ it as a code for bodily fluids and other disgust-provoking phenomena. Such a reduction is detrimental because it minimizes the importance of other aspects of abjection in favour of the gratuitous display of the bodily. This issue examines a number of ways in which the concept of abjection enhances understanding of various works of modern and contemporary performance involving boundary crossings between different states and also analyzes what such performances potentially reveal about the limitations of current theorizations of the abject.<\/p>\n
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Introduction
\nRina Arya, Nicholas Chare
\npp. 1 – 4<\/p>\n
Taking Apart the Body : Abjection and body art
\nRina Arya
\npp. 5 – 14<\/p>\n
No Pictures : Blind Date and Abject Masculinity
\nKaren Gonzalez Rice
\npp. 15 – 24<\/p>\n
Abjection and Informe : Operations of debasing
\nKonstantina Georgelou
\npp. 25 – 34<\/p>\n
Live Fast, Die Young, Leave a Useful Corpse : The terrible utility of David Wojnarowicz
\nLauren DeLand
\npp. 33 – 40<\/p>\n
Taste My Sorrow : Caught horribly, somewhere, between the pregnant and the maternal
\nKirsten Hudson
\npp. 41 – 51
\nABSTRACT
\nActing Dead and Other Maniacal Stories : The abject work of Cricot2, after Kantor
\nDaniel Watt
\npp. 52 – 62<\/p>\n
Approaching Abjection in Sarah Kane\u2019s Blasted
\nSarah Ablett
\npp. 63 – 71<\/p>\n
Abject Metamorphosis and Mirthless Laughter : On human-to-animal transitions and \u2018the disease of being finite\u2019
\nShaun May
\npp. 72 – 80<\/p>\n
Improvising Themes of Abjection with Maggie Nicols
\nD Ferrett
\npp. 81 – 90<\/p>\n
Literary Veins : Women\u2019s bodybuilding, muscle worship and abject performance
\nNicholas Chare
\npp. 91 – 101<\/p>\n
Abjection, Remembering and the Still-Performing Document
\nKelsy Vivash
\npp. 102 – 110<\/p>\n
A Story of Rats : Associations on Bataille\u2019s simulacrum of abjection
\nJeremy Biles
\npp. 111 – 125<\/p>\n
Performance Theatre and the Poetics of Failure (review)
\nMelanie Bennett
\npp. 126 – 129<\/p>\n
The Queer Art of Failure (review)
\nJ. Paul Halferty
\npp. 130 – 132<\/p>\n
Notes on Contributors
\npp. 133 – 134<\/p>\n\n\n