在西方当代艺术中，克里斯蒂娃的理论多被用来分析和阐释文学与文本的互文性。而尝试在当代视觉艺术作品中引入“贱斥”理论，有助于更好地阐释这些作品创作的初衷，进行主体的自我观照，从而发现这些作品的真正价值所在。本文在研究“贱斥理论及其在西方当代艺术中的表现”时，将主要基于克里斯蒂娃的两本著作：《恐怖的权力——论卑贱》和《克里斯蒂娃自选集》，并结合大量当代艺术中的作品实例，分析“贱斥感”是如何在观众心中如何产生的。除“贱斥”理论本身之外，克里斯蒂娃还提出了关于清洁躯体、废料躯体、尸体躯体等一系列相关理论，这些理论对于研究当代艺术家辛迪·舍曼（Cindy Sherman）、保罗·麦卡锡（Paul McCarthy）、奇奇·史密斯（Kiki Smith）等人的作品无疑有重要的指导意义。

In Western contemporary art, Kristeva's theory is used to analyze and explain the intertextuality of literature and text. Trying to introduce the theory of "abject" in contemporary visual art works will help to explain the original intention of these works and carry out the self - observation of the subject better, so as to find out the real value of these works. In this study, "The theory of abjection and its expression in Western Contemporary Art" will be based mainly on two works by Kristeva: Powers of Horror and Kristeva's Choice, combined with a large number of Contemporary Art works as the examples, analyzing how "abject" is produced in the hearts of the audience. In addition to the "abject" theory itself, Kristeva also presents a series of related theories about the cleaning of the body, the body of the waste, the corpse, etc. Those theories have important guiding significance for the study of contemporary artists such as Cindy Sherman, Kiki Smith, Paul McCarthy and other works undoubtedly.

[1] [法]茱莉娅·克里斯蒂瓦. 恐怖的权力：论卑贱[M]. 张新木译. 北京：生活·读书·新知三联书店，2001:1-150.

[2] [法]茱莉娅·克里斯蒂瓦. 克里斯蒂娃自选集[M]. 赵英晖译. 上海：复旦大学出版社，2015:1-194.

[3] 韩丹,聂春雷. “贱斥”的思想特质分析——朱莉亚·克里斯蒂娃的女性主义研究[J]. 中共福建省委党校学报,2012,(03):117-120.

[4] 慈丽妍,王春晖. 谈克里斯蒂娃的女性主义思想[J]. 辽宁师专学报(社会科学版), 2009, (05):29-30.

[5] 殷祯岑,祝克懿. 克里斯蒂娃学术思想的发展流变[J]. 福建师范大学学报(哲学社会科学版),2015,(04):54-65+171.

[6] 郭滢. 符号学、精神分析学与女性主义政治哲学——克里斯蒂娃思想述评[J]. 徐州工程学院学报(社会科学版),2015,(04):30-34.

[7] 胡晓华. “卑贱”的回归——论欧茨小说《圣殿》的自我认同观[J]. 外国文学,2011,(04):20-27+157.

[8] 罗婷. 克里斯特娃关于母性/卑贱的权力话语与文学表现[J]. 国外文学,2003,(01):3-9.

[9] Guberman, Ross Mitchell. “In Julia Kristeva Interviews”. Ed. Baruch, Elaine Hoffman. Feminism and Psychoanalysis[M]. New York: Columbia University Press, 1996.

[10] Gutiérrez-Albilla, J. D. (2008). “Abjection and the politics of feminist and queer subjectivities in contemporary art”. Angelaki: Journal of Theoretical Humanities, 13(1), 65-84.

[11] McCarthy, P. (2001). “Beauty And The Beastly”. Nation, 272(16), 25-28.

[12] Runyon, R. (2013). “Encounters with the Abject: Kiki Smith’s Vulnerable Bodies”. Spaces Between: An Undergraduate Feminist Journal, 1(1).

[13] Foerschner, A. (2013). “The Fairest in the Land: The Deconstruction of Beauty in Paul Mccarthy's WS”. Afterimage, 41(3), 14.

[14] Glessing, J. (2014). “Paul McCarthy, WS”. The Senses and Society, 9(2), 242-247.

[15] Colby, G. (2012). “Radical Interiors: Cindy Sherman's ‘Sex Pictures’ and Kathy Acker's My Mother: Demonology”. Women: a cultural review, 23(2), 182-200.

[16] Ross, C. (1997). “Redefinitions of abjection in contemporary performances of the female body”. RES: Anthropology and Aesthetics, 31(1), 149-156.

[17] Cachia, A. (2015). The (Narrative) Prosthesis Re-Fitted: Finding New Support for Embodied and Imagined Differences in Contemporary Art. Journal of Literary & Cultural Disability Studies, 9(3), 247-264.