In this essay, I will attempt to elaborate on the impact of violence as abjection to individuals and to the society as well as on the dynamics of understanding and interpreting meaning from the pain and suffering caused by violence.

In order to construe violence as abjection, we must first characterise abject and abjection. In defining what is abject, Kristeva (1982) said,

“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.... The abject has only one quality of the object-- that of being opposed to I.” (p. 1)

In Creed’s (1993) exposition on horror and femininity, she described the place of the abject as that

“where meaning collapses, the place where I am not...[It] threatens life, it must be radically excluded from the place of the living subject, propelled away from the body and deposited on the other side of an imaginary border which separates the self from that which threatens the self.” (p. 65)

When a person is thrashed into the realm of the abject, his imaginary borders disintegrate and the abject, that is violence, becomes a tangible threat because his identity system and conception of order has been disrupted.  As Kristeva (1982) theorises, it is not the "lack of cleanliness or health that causes abjection but what disturbs the identity, system, order." (p. 4) Yet, because the object of abjection lies close by but cannot be assimilated (Kristeva 1982, p. 3), a person is both drawn to and repelled by the abject; such repulsion expressed in terms of nausea, adrenalin and fear (Green 1999). In other words, the abject is something that is recognised in some way familiar but its existence is confronting (Sontag 1994, p. 2). To demonstrate how it manipulates or controls and how it subverts boundaries, laws, and conventions, Kristeva (1982) further theorises that "the abject is perverse because it neither gives up nor assumes a prohibition, a rule, or law; but turns them aside, misleads, corrupts; uses them, takes advantage of them, the better to deny them."(p. 15)

A very concrete example of violence as abjection is when a person sees his own blood outside of his body. Of course, that is disagreeable because blood is supposed to be in our bodies. Foucalt’s (1977) graphic and sensationalising portrayal of the ripping of the flesh which Daniel (1996) termed as “pornography of violence” exemplifies a very direct representation of violence as abjection. Drawing from Kristeva’s portrayal of the abject, Scarry (1985) compares the reaction of a victim of violence who bears the burden of the pain to that of the child ripped out from maternal connection and propelled to physical isolation. Thus, a sufferer drives his ego to externalise or to separate from the violence that causes his pain and suffering. In this way, abjection or the process of externalisation is a way of coping up or to relieve oneself of the pain.

In her exposition on pain and suffering, Scarry (1985) lays out the effect of violence as abjection, “...physical pain does not simply resist language but actually destroys it, bringing about an immediate reversion to a state anterior to language, to the sounds and cries a human being makes before language is learned.” (p. 4). Thus pain isolates the sufferer and drains him of cultural resources, particularly language. However, the aftermath of violence produces not only physical pain that is experienced at the level of the flesh (Scarry 1985) but also visceral, emotional and somatic effects (Green 1999; Wacquant 2004; Doug 2006).

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There are many different types of violence, ranging from interpersonal forms such as murder, hate crimes, battery, torture, rape and leisure violence to genocide, civil conflicts, and international wars at the macrosocial level. But what is violence? Dictionaries offer ambiguous and intangible definitions. Its definition and usage to describe a whole range of events, feelings and harm have been moulded in varied ways, each according to the theorist’s field of study (Stanko 2003, p. 2).

Even historical events show how violence has been seen and portrayed in multiple lenses (Archer & Jones 2003). In describing it as an elusive ...

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