vomitory


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emetic

 [e-met´ik]
1. causing vomiting.
2. an agent that does this; examples are a strong solution of salt, mustard water, powdered ipecac, and ipecac syrup. Emetics should not be used when lye or other strong alkalis or acids have been swallowed, since vomiting may rupture the already weakened walls of the esophagus. Examples of such acids and alkalis are sodium hydroxide (caustic soda), potassium hydroxide (caustic potash), and carbolic acid. Emetics should also be avoided when kerosene, gasoline, nail polish remover, or lacquer thinner has been swallowed, since vomiting of these substances may draw them into the lungs.

vomitory

(vŏm′ĭ-tôr′ē)
adj.
Inducing vomiting; vomitive.
n. pl. vomito·ries
1. Something that induces vomiting.
2. An aperture through which matter is discharged.
3. See vomitorium.
References in periodicals archive ?
There is indeed here no one to "see" through that doesn't turn into a vomitory (no)thing, no chance (conversely) of seeing through eyes that don't encounter the world vomitorily.
6), this is because the identity of the seer is here "in" the object as much as in the eye, and the mark of the other has always already imprinted itself on an ocular organ that's thereby degraded to a vomitory consistency somewhere "between" a liquid and a solid.
This is the nightmare that Sanctuary enacts as much in the mode of its representation as in its thematic "content." Pap is in fact a perfect figure for the novel's implied or ideal reader, whose "eye" the narrative mode solicits only in order to spit up into it, and whom it lets neither in nor out except in oral-ocular consumption of self in the mode of vomitory (no)thing.
Any attempt at a reading that's more "thematically" oriented than the one so far offered will have to confront this vomitory tendency toward oxymoronical (anti-)significance.
Horace sits in the very next scene with the men at the bootlegger's house, speaking of his wife and his reasons for leaving her in terms that both repeat and refigure the vomitory terms we've already encountered.
Horace "knows" he isn't the stain--knows he is not the vomitory (no)thing that Popeye reflects back to him--because he has already learned that this stain refers to a female emission, and it's in the name of exactly this "knowledge" that he in fact flees from his wife in the first place.
The vomitory confusion between inside and outside--which threatens the subject with self-consumption at the hands of a bad object outside-within--is stabilized by an optics that no longer finds a "self" in the object at all, but projects the threat of psychic self-canceling onto a feminine externality whose revealing-concealing natural artifice formally repeats the original experience of being a self-negating nothing.
Popeye's hand is her father's hand--and her father's hand is Popeye's--since if Popeye is on one hand "Daddy," Judge Drake is on the other Popeye, both in the mode of vomitory (no)thing and of its sexually violative denial.