Julia Kristeva Lecture Kristeva returns to Freud only to up-end much of the classic theory, and she does this by proposing an entirely new ‘complex’ that prefigures Freud’s Oedipus complex. She argues that even before a child becomes aware of his/her parents, the mother has to instill in the child a sense of ‘self’ and ‘not-self,’ a process which the mother herself participates in re-learning after giving birth. Kristeva believes that this is the most primal of thinking: distinguishing your own body from what is not your body.

QUESTION

Julia Kristeva Lecture

Kristeva returns to Freud only to up-end much of the classic theory, and she does this by proposing an entirely new ‘complex’ that prefigures Freud’s Oedipus complex. She argues that even before a child becomes aware of his/her parents, the mother has to instill in the child a sense of ‘self’ and ‘not-self,’ a process which the mother herself participates in re-learning after giving birth. Kristeva believes that this is the most primal of thinking: distinguishing your own body from what is not your body.

So, you might think this is a simple matter, but in fact, it is difficult when we consider it further. She turns our attention to tears, sweat, mucus, wax, blood, urine, excrement, and so on. While those things are on our bodies, as they come out of our bodies, we would consider them as part of ourselves, but the moment they are separated from us, they are no longer part of us ß and right at that very moment, it is our mother who is to teach us to make this separation quickly and cleanly, a lesson that we associate with primal ‘revulsion.’ Our mother teaches us that poop is not part of ourselves by scrunching up her face and going “EWWWW!,” with the aim of instilling in us that very sense of revulsion. Same with nose picking, peeing in our pants, etc. Our sense of who we are (and what we are not), then, is tied up with a sense of revulsion when that distinction is called into question. (Connect this to the fear of bugs, of them getting inside of you, of becoming a part of you by their insertion of a stinger or of poison that would meld with your body.)

This sense of revulsion, however, is complicated because it is also connected to desire (as is everything in psychoanalysis). There are some times in which we want overcome revulsion to dissolve the body into what it is not: the tenderness of kissing someone’s tears, the mixing of sweat in a passionate embrace, the relationship between mother and unborn child through the umbilical cord. These are moments in which we want to forget our sense of self, the boundaries of our bodies: the abject.

The abject is that which is both part of us and not part of us at the same time, a zone of revulsion and of desire, a primal form of thinking and of being that exists in early childhood, which is entirely ruled over not by the patriarch (as it is in the Oedipus complex) but by the matriarch. She is the one we look to for guidance as we learn what we are and what we are not. This is key: for Kristeva, it is the mother and not the father that has the principal impact on psychological development.

Of course, revulsion is a kind of horror. What Kristeva’s theory of the abject helps understand is why there is so much blood in horror films: blood is a part of us and we shouldn’t be separated from it—our mothers teach us not to cut ourselves. Back when the USA went through the great comics scare (the country went crazy with hysteria over the idea that comics corrupted the minds of the young), the first rule they put into place was that no blood could appear in comics (given, the early horror comics were really disgusting)—a rule that was observed for decades by comic artists. Kristeva’s theory pushes further, however, asking questions that belong to a contemporary trend across critical theory called post-Humanism. This trend is asking anew what it means to be human?

For our last required paper, I am asking you to find some relevant passages in Kristeva’s work and apply it to an analysis of James Cameron’s film Aliens (the second film in the franchise). It is a sci-fi action horror film, and if you haven’t seen it, you’ll find it quite different from Hiroshima, Mon Amour—it is an entirely different kind of horror. Cameron explores all sorts of ways in which to challenge our notions of the body, from female authority to impregnating men, from cyborgs to AI. I do think it is important to keep gender in mind as you watch the film—Sigourney Weaver’s performance was/is really revolutionary.

ANSWER

Exploring Julia Kristeva’s Theory of the Abject in James Cameron’s Film “Aliens”

Introduction

Julia Kristeva’s theory of the abject offers a unique perspective on the formation of self-identity and the complexities of revulsion and desire. In this essay, we will apply Kristeva’s concepts to analyze James Cameron’s film “Aliens.” As a sci-fi action horror film, “Aliens” challenges traditional notions of the body and explores themes of female authority, impregnation, cyborgs, and artificial intelligence. By examining the film through the lens of Kristeva’s theory, we can gain insight into the ways in which the movie disrupts our understanding of the human experience and the boundaries of the self.

The Mother’s Role in Shaping Self-Identity

According to Kristeva, the mother plays a crucial role in instilling a sense of self and not-self in a child. She argues that before children become aware of their parents, the mother must teach them to distinguish their own bodies from what is not their body. In “Aliens,” the theme of motherhood is central, with Sigourney Weaver’s character, Ellen Ripley, embodying both maternal and authoritative qualities (Kenny, 2015). Ripley’s interactions with the alien creatures and the survival instinct she displays highlight the significance of the mother figure in psychological development.

Revulsion and Desire

Kristeva posits that the sense of revulsion is intimately connected to desire. In “Aliens,” the film explores moments when characters willingly challenge the boundaries of their bodies. Examples include the tenderness of kissing someone’s tears, the mixing of sweat in passionate embraces, and the symbiotic relationship between the mother and unborn child through the umbilical cord (Pacheco, 2020). These instances blur the lines between self and other, revealing the complex interplay between revulsion and desire inherent in human experiences.

Gender and Female Authority

It is important to consider gender dynamics in “Aliens” when analyzing the film through Kristeva’s theory. Sigourney Weaver’s portrayal of Ripley challenges traditional gender roles, presenting a strong, independent female character who takes charge and defies expectations. This subversion of gender norms contributes to the destabilization of established notions of identity and power dynamics.

Body Horror and the Abject:

“Aliens” employs body horror elements that resonate with Kristeva’s theory of the abject. The film features scenes depicting bodily transformations, impregnation, and violent confrontations with monstrous creatures (Sa, 2020). The abject nature of these encounters lies in the fusion of what is part of us and what is not, blurring the boundaries of self-identity. Blood, a bodily fluid intimately connected to our sense of self, is prominently featured in the film, symbolizing the violation and disruption of our perceived boundaries.

Conclusion

Through the lens of Julia Kristeva’s theory of the abject, James Cameron’s film “Aliens” can be understood as a complex exploration of the human experience, challenging established notions of self-identity, gender, and the boundaries of the body. By examining the film’s themes of motherhood, revulsion, desire, and body horror, we gain a deeper understanding of how “Aliens” disrupts traditional notions of what it means to be human. Sigourney Weaver’s revolutionary performance as Ripley further reinforces the film’s exploration of gender dynamics and the potential for female authority in shaping psychological development. “Aliens” serves as a compelling example of how popular culture can engage with and reflect upon psychoanalytic theories, contributing to ongoing discussions about the nature of humanity.

References

Kenny, D. T. (2015). The “Mother” in Attachment Theory and Attachment Informed Psychotherapy. Sydney. https://www.academia.edu/17235269/The_Mother_in_Attachment_Theory_and_Attachment_Informed_Psychotherapy 

Pacheco, C. (2020). Film Philosophy at the Margins Erin Harrington Women Monstrosity and Horror Film by Erin Harrington (This book is not mine, all the credits to the authors, if you can, support her). www.academia.edu. https://www.academia.edu/40341358/Film_Philosophy_at_the_Margins_Erin_Harrington_Women_Monstrosity_and_Horror_Film_by_Erin_Harrington_This_book_is_not_mine_all_the_credits_to_the_authors_if_you_can_support_her_ 

Sa, M. (2020). Review of “Review of Julia Kristeva, This Incredible Need to Believe. www.academia.edu. https://www.academia.edu/42838813/Review_of_Review_of_Julia_Kristeva_This_Incredible_Need_to_Believe