1.

Record Nr.

UNINA9910777648303321

Autore

Reader Keith

Titolo

The Abject Object : Avatars of the Phallus in Contemporary French Theory, Literature and Film / / Keith Reader

Pubbl/distr/stampa

Leiden; ; Boston : , : BRILL, , 2006

ISBN

94-012-0173-0

1-4237-8913-X

Descrizione fisica

1 online resource (226 p.)

Collana

Chiasma ; ; 17

Disciplina

840.9/353

Soggetti

French literature - 20th century - History and criticism

Masculinity in literature

Penis in literature

Lingua di pubblicazione

Inglese

Formato

Materiale a stampa

Livello bibliografico

Monografia

Note generali

Description based upon print version of record.

Nota di bibliografia

Includes bibliographical references and index.

Nota di contenuto

Introduction -- Chapter One: The Lacanian phallus -- Chapter Two: Abjection -- Chapter Three: The abject phallus in fiction: Bataille and Adamov -- Chapter Four: Abject phalluses, abject penises: Serge Doubrovsky and Michel Houellebecq -- Chapter Five: Phallic narrative transvestism: Christiane Rochefort and Christine Angot -- Chapter Six: The abject phallus in cinema: Godard, Ferreri, Eustache, Noé, Bonello -- Conclusion -- Bibliography -- Index.

Sommario/riassunto

This book addresses representations and constructions of masculinity in crisis in contemporary French culture by way of two important concepts - the phallus (largely but not solely in (a) Lacanian sense(s)) and abjection (Kristeva). Scrutiny of these concepts informs readings of a number of texts - literary (Bataille, Adamov, Doubrovsky, Houellebecq, Rochefort, Angot) and cinematic (Ferreri, Eustache, Godard, Noé, Bonello) - in which the abject phallus is a significant factor. The texts chosen all describe or stage crises of masculinity and mastery in ways that suggest that these supposedly beneficent qualities - and the phallus that symbolizes them - can often be perceived as burdensome or even detestable. Abjection is a widely-used concept in contemporary cultural studies, but has not hitherto been articulated with the phallus as emblem of male dominance as it is here. The



volume will be of interest to those working in the areas of French, gender and film studies.