To see the other types of publications on this topic, follow the link: Kristeva.
Dissertations / Theses on the topic 'Kristeva'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Kristeva.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Illert, Pamela Anne. "Kristevan theory : meanings, contexts, feminist "uses" /." Title page, table of contents and abstract only, 1995. http://web4.library.adelaide.edu.au/theses/09ARM/09armi29.pdf.
Full text
2
Turner, Christopher John Bridgman. "Disgust : the unrepresentable from Kant to Kristeva." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342236.
Full text
3
Liljeäng, Svante. "Den bejakande och separerande rörelsen : Om arbetet med abjektet i psykoterapi." Thesis, Ersta Sköndal Bräcke högskola, S:t Lukas utbildningsinstitut, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:esh:diva-7895.
Full textAbstract:
Inledning: Julia Kristeva har utvecklat det teoretiska begreppet abjektet. Syftet med studien var att förstå mer av abjektet och vilken betydelse det kan ha för den psykodynamiska praktiken. Frågeställningar: Hur upplever terapeuter förtrogna med begreppet abjekt dess kliniska relevans och användbarhet? Vilka implikationer för, och vilka specifika intrapsykiska och/eller intersubjektiva kännetecken i, terapin beskrivs? Metod: Genom intervjuer med sex terapeuter förtrogna med Kristeva söktes abjektets relevans och användbarhet samt specifika intrapsykiska och intersubjektiva kännetecken i relation till det kliniska arbetet. Intervjuerna analyserades med hjälp av deduktiv tematisk analys. Resultat: Abjektet som fenomen beskrevs visa sig som affektiva och kroppsliga symptom, där patienten visar föga förankring i språket, och där sammanblandade och gränslösa relationer framträder. Det präglas av att patienten agerar ut med syftet att fortsatt symbiotiskt sammanblandas eller i försök att differentiera och separera. Arbetet med det abjekta visade sig kliniskt innebära att en tillitsfull relation behöver upprättas; ett terapeutiskt sammanhang markerat av gränser, möjliggörande rörelse och benämning av tidigare osymboliserat material. Patienten kan i det ideala fallet upprättas som subjekt, sörja över separationen och bristen, ges tillträde till en plats i sin historia och förmå stå ensam och separat i relation till andra. Diskussion: Av analysen framkommer att de intervjuade terapeuterna antog positioner i olika grad längst en å ena sidan ickespråklig nivå av närvaro i terapirummet och en å andra sidan språkligt avgränsad nivå. I analysen visar sig arbetet med det abjekta syfta till separation och subjektets tillblivelse. Ett arbete som i sin tur ses vara avgörande för att individen ska kunna ingå i relationer med andra.Introduction: The aim of the study was to investigate the term Abject as developed by Julia Kristeva. Research questions: How do therapists familiar with the term Abject perceive its clinical relevance and usefulness? Which are the implications described concerning intrapsychic and/or intersubjective characteristics in therapy? Method: Interviewing six therapists, all familiar with Kristeva, the study sought to find how the Abject is relevant in psychodynamic therapy in Sweden today, as to understand its intrapsychic and intersubjective implications. The interviews were analysed using deductive thematic analysis. Results: The phenomenology of the Abject was described as presenting itself through affective and somatic symptoms, devoid of symbolic representation and relational boundaries. It was further described as characterized by patients acting out, seeking to symbiotically merge or to differentiate themselves as separate. The study showed that working clinically with the Abject requires the therapist to construct a relation based on trust, define borders and to help the patient to express formerly unspeakable experiences, thus enabling the patient, ideally, to establish themselves as subject, mourn the separation and develop the capacity to stand alone. Discussion: In working with the abject, the interviewed therapists appear to assume positions of varying degree along, on the one hand a non-verbal level of presence in the therapeutic room and on the other hand a verbally demarcated level. In every case the work with the Abject appear to aim for separation and the formation of the subject. This work appears to be crucial for the individual as to be able to relate to others.
4
Bruijn, Bonnie de. "Female subjectivity and religion according to Julia Kristeva." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99364.
Full textAbstract:
In the face of an explosion of feminist discourse and an increasingly global, deeply troubled socio-religious climate, the following study explores the role of religion qua Christianity in researching female subjectivity, according to Julia Kristeva. Kristeva's pervasive influence and controversial reception in academic circles grants her the focus of this investigation.This project familiarizes the reader with Kristeva's theory of subjectivity as a process and situates her among the plethora of feminist theorists. It also examines her view that religion is an illusory therapy for the modern subject in crisis. Finally, these two themes are brought together in a discussion on her theory of a culture of revolt, derived from the psychoanalytic process. Kristeva's vision for the future of feminism is shown to be deeply philosophical, while also socially and politically important. Furthermore, in revolt culture, religion might well leave open the possibility of researching female subjectivity.
5
Smith, Anna Jean. "Reading Julia Kristeva: Estrangement and the female intellectual." Thesis, University of Canterbury. English, 1992. http://hdl.handle.net/10092/4692.
Full textAbstract:
This study is concerned with the interrelationship between estrangement and the place of the female intellectual in a selection of texts by Julia Kristeva. The alterity of language - which Kristeva takes to be language in its affective aspect – is read as a critique of notions of presence and transcendence that have governed our expectations about the meaning of identity and the nature of reading. When a material texture is restored to language it estranges thought and discourse. The subject-in-process announced by Kristeva is thus both the sign and symptom of estrangement, a subject that has been evacuated of any essential identity. At the same time it is established that there is a subtle privileging of the female (as intellectual) in Kristeva's work. This privileged site of enunciation often appears to be at variance with the former emphasis on estrangement.
However the study discovers that later texts, in particular Tales of Love, reconcile these two ambivalent operations by posing the value of the Imaginary Father. When subjectivity is seen to be in loving relation to an imaginary other, estrangement and relations of hostility are transformed by a new understanding of what it means to be at home with the self and in love with the other. Through examining persistent shifts in Kristeva between spaces of dwelling and exile, I argue that the virtues of homelessness increasingly give place to reading subjects in need of care and renewal. Although the early fascination with the estranging qualities of language persists, I conclude that openness to the speech of the other is the most lasting quality in Kristeva's writing that recognises, without valorising, feminine specificity.
6
De, Nooy Juliana. "Entre autres : Derrida, Kristeva et la limite entre." Paris 7, 1990. http://www.theses.fr/1990PA070070.
Full textAbstract:
Cette these est la recherche d'un espace entre deux oeuvres qui traitent toutes les deux de l'"espace entre". Malgre certains enjeux en commun (notamment la recherche de figures doubles, ambigues ou indecidables, au depens de l'opposition binaire et de la synthese), les theories de jacques derrida et de julia kristeva ne coincident point en ce qui concerne la production de differences, derrida optant pour un mouvement de detour, evitant la confrontation, evitant aussi la position thetique, kristeva soutenant un mouvement dialectique engendrant des conflits entre la position et le rejet. Mais en decrivant l'ecartement des deux, toute la problematique des structures de difference se reproduit. La description de la difference entre les deux theories comme confrontation ou decalage, comme contradiction ou non-coincidence, s'engage elle-meme dans les preoccupations principales de derrida et de kristeva. Les grandes differences qui se degagent de ce travail concernent la facon de concevoir les limites qui, chez kristeva, se revelent des frontieres resistantes, sites de lutte entre deux mouvements inseparables. . .The thesis seeks to describe the space between two theories which each discuss "the space between". Despite several common objectives (notably the pursuit of double, ambiguous or undecidable figures to supplant the binary opposition and the synthesis), the work of jacques derrida and that of julia kristeva in no way coincide where the production of differences is concerned, derrida opting for "detours", avoiding confrontation, equally avoiding the thetic position, kristeva arguing for a dialectical movement engendering conflict between the thetic position and its rejection. However, in describing their divergence, the whole problematic of structures of difference is reproduced. The representation of the distinction between the two theories as confrontation or as hiatus cannot be separated from the preoccupations of derrida and kristeva. The major differences which emerge from this study concern ways of conceiving limits, which in kristeva's work are resistant frontiers, sites of struggle between two inseparable movements. . .
7
Jardim, Luciana Abreu. "Clarice Lispector e Julia Kristeva : dois discursos sobre o corpo." Pontifícia Universidade Católica do Rio Grande do Sul, 2008. http://hdl.handle.net/10923/4100.
Full textAbstract:
Made available in DSpace on 2013-08-07T19:01:23Z (GMT). No. of bitstreams: 1
000400806-Texto+Completo-0.pdf: 1771832 bytes, checksum: 73fc4ec0a53dba3adf459553655b8958 (MD5)
Previous issue date: 2008Nous nous proposons l’examen des représentations du corps des personnages dans les romans de Clarice Lispector et de Julia Kristeva. Nous avons choisi trois textes de Lispector – Perto do coração selvagem, A paixão segundo G. H. et Água Viva – pour soutenir l’argument de la disparition des corps qui s’ébauche à partir de la réduction des noms propres des protagonistes: Joana, G. H. et le personnage-narrateur sans référence nominale. Ce processus de réduction apparaît également dans la composition romanesque de Kristeva, puisqu’elle écrit des romans policiers comme exercice de la violence sur un corps destiné à l’effacement produit par le crime. Le vieil homme et les loups (1991) et Possessions (1996) participent à un second discours sur le corps qui renvoie à la pensée théorique de Kristeva, surtout lorsqu’elle développe la relation du sujet parlant avec la technique. Le fil conducteur de notre analyse sur le destin des corps sera le concept de la technique selon les idées de Kristeva exposées dans Sens et non-sens de la révolte (1966) et La révolte intime (1997). En nous demandant s’il est (ou non) pertinent de parler de ce mouvement vers la perte du corps, notre propos est celui d’examiner la réaction des écrivains selon les choix possibles. Il s’agit donc de répondre si Lispector et Kristeva sont capables de recréer le concept-corps au-delà de la sphère intimiste ou si elles pratiquent l’écriture exclusivement attachées aux intérêts personnels, sans produire des interférences effectives sur l’avenir de la pensée occidentale. fre
Propomos o exame das representações dos corpos de personagens nos romances de Clarice Lispector e de Julia Kristeva. Escolhemos três textos de Clarice Lispector – Perto do coração selvagem, A paixão segundo G. H. e Água viva – para sustentar o argumento do desaparecimento corporal que se esboça a partir da redução dos nomes próprios das protagonistas: Joana, G. H. e a personagem- narradora sem referência nominal. Esse processo de redução parece habitar a composição romanesca de Kristeva, já que a autora escreve romances policiais como exercício de trabalhar a violência sobre um corpo destinado ao apagamento produzido pelo crime. O velho e os lobos (1991) e Possessões (1996) participam de um segundo discurso sobre o corpo que repercute sobre o pensamento teórico de Kristeva, sobretudo quando a autora desenvolve a relação do sujeito falante diante da técnica. O fio condutor de nossa análise sobre os destinos do corpo será a técnica, de acordo com as idéias de Kristeva expostas em Sentido e contra-senso da revolta (1996) e A revolta íntima (1997). No questionamento se é (ou não) pertinente falar sobre esse movimento em direção à perda do corpo, proporemos o exame da reação das escritoras de acordo com as alternativas possíveis. Trata-se de responder se Lispector e Kristeva são capazes de recriar o conceito-corpo para além da esfera intimista ou se elas praticam uma escrita ligada exclusivamente a interesses pessoais, sem produzir interferências efetivas no destino do pensamento ocidental.
8
Ball, Elaine Catherine. "Resistant spaces in Kristeva and Foucault, and their literary formation in Barnes and Lorde." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367191.
Full textAbstract:
This thesis examines, in the light of Julia Kristeva's and Michel Foucault's recent theorisations of the productions of meaning, the work of two authors, Djuna Barnes and Audre Lorde, whose writing, it argues, sets up virtual spaces which can become places of resistance to the normative functioning of a given culture. Having sketched a philosophical background to notions of extra-linguistic space through reference to Plato, Kant, Hegel and Lacan, the first chapter considers what is distinctive in the theories of space provided by Kristeva, who (in Revolution in Poetic Language) develops Plato's notion of the chora functioning at times as a synonym for "semiotic articulation". The semiotic (le semiotique) is employed by Kristeva in a very precise way. It represents a convolution of expressions: operating as a drive system within the body that affects the structure of language (understood by her as the symbolic), as a "network of marks" that breaches the established sign systems, and as a revolutionary process that is responsible for the transgression and articulation of new meanings. Because both the semiotic and the symbolic are an inseparable part of the signifying processes of language, they together act as pathways of production. Of all these various processes and relations, the most remarkable one is that these two modalities are genderised: the semiotic chora is "enigmatic and feminine, th[e] space underlying the written"; while the symbolic is a "phallic function". That being so, one of the main features of this thesis is to articulate a feminist argument in relation to Kristeva, expounding on the notion of the spatial concept of the semiotic chora as a "resistance" to phallocentrism. The second chapter sets out to explore Foucault's spatial reasoning. My argument is that space is central to Foucault's concerns. This is demonstrated in several ways. First I suggest that Foucault's interpretation of a social construction of space is such that the subject is connected to its own fashioning processes. Second, by introducing space into his documentation of history, Foucault sets in motion a dispersion of society's master narratives. In respect of this, I argue that a methodology can be formed from Foucault's spatial term "heterotopia", where contingent sites, rather than causes, shape new discourses and open up possibilities of resistance against the techniques and tactics of domination. Because (as Foucault writes in The Order of Things) the heterotopia serves to "desiccate speech, stop words in their tracks, contest the very possibility of grammar at its source", it not only produces discourse, it challenges all boundaries and remains essentially fluid, escaping the matrix of historical category. The next three chapters consider the implications of Kristeva's definition of the semiotic chora which, as briefly mentioned above, is constituted by psychosomatic drives. Hence, mood plays a central role in the semiotic chora. I construct a reading of Nightwood the main tenet of which is to examine the textual variations of Kristeva's resistant and abject `language'. Located in melancholy, incest, and discontentednesse ach trope forms individual chapterse xploring ways in which the limits of language are transgressed. Taken as a whole, the theme running through the three chapters on Nightwood is that new literary formations arise when the abject as mood becomes structured and made meaningful by the symbolic. The last two chapters examine Foucault's position in relation to Kristeva's, and argue that Kristeva's and Foucault's spatial thinking questions the appearance of finality and completeness in language. These chapters also provide a practical application of Foucault's heterotopia, in which spaces between contingent sites are shaped by Lorde. It is argued that opportunities of resistance are provided by Lorde who, naming her disparate position against the master narratives that fail to recognise her, locates her difference from them. In conclusion, a feminist reading of Kristeva's chora and Foucault's heterotopia reveals an opening to resistant spaces and new paths of production of meaning. Chora and heterotopia, then, are not merely abstract philosophical concepts, but powerful tools of reading, as is shown by their application in the interpretation of the works of Barnes and Lorde.
9
Girard, Jocelyn. "Fiction d'une théorie : d'où parle l'oeil dans l'oeuvre de Julia Kristeva." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40550.pdf.
Full text
10
Ivantcheva-Merjanska, Irene. "Assia Djebar et Julia Kristeva: choisir le français comme langue d'écriture." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307104630.
Full text
11
Convento, Elisabetta. "Il "génie féminin" o la disseminazione del sé : Kristeva e Colette." Paris 8, 2005. http://www.theses.fr/2005PA082527.
Full textAbstract:
Cette étude se focalise sur le volume de la trilogie Le génie féminin de Julia Kristeva dédié à Colette et se propose de tracer un parcours herméneutique qui, par le biais de l'analyse de certains points nodaux de la ‘‘vie-œuvre'' colettienne, vus sous le jour de la conception du génie féminin de Kristeva, puisse clarifier la particularité de la théorie de la femme d'étude. Dans les chapitres dédiés à l'écriture, au maternel, à la sexualité et au féminin, l'analyse des composants structurels de l'interprétation kristevienne est associée aux réflexions critiques sur l'écriture de Colette. Du point de vue méthodologique, le nœud le plus complexe que la thèse se propose d'éclaircir, est le résultat de l'entrelacement de différentes disciplines, telles que la philosophie, la sémiologie et la psychanalyse, qui se profile comme étant essentiel pour accueillir pleinement l'innovation apportée par cette conception kaléidoscopique de génialité féminineThis study focuses on part three of the triptych Le génie féminin by Julia Kristeva, which deals with Colette. Its intention is to outline a hermeneutic pathway so as to clarify the characteristic features of Kristeva's approach, by analysing certain crucial points in Colette's “life-work” viewed in the light of Kristeva's conception of génie féminin. In the chapters on writing, the maternal, sexuality and femaleness, the analysis of the structural components of Kristeva's interpretation is combined with critical reflections on Colette's writing. In terms of methodology, the most complex matter that the thesis aims to clarify is the result of the intertwining of different disciplines such as philosophy, semiotics and psychoanalysis, which proves to be essential in order to fully grasp the innovative nature of this kaleidoscopic conception of female genius
12
Girard, Jocelyn. "Fiction d'une théorie : d'où parle l'oeil dans l'oeuvre de Julia Kristeva /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1999. http://theses.uqac.ca.
Full text
13
Henning, Bethany Nicole. "The Kristevan Imaginary: Love, Music, and the Renewal of Culture." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1255.
Full textAbstract:
Our contemporary culture is the product of enlightenment movements that have produced a discursive mode that favors skepticism, abstraction, and a mistrust of the body. This crisis of meaning has produced subjects that have lost the capacity for convincing symbolic exchanges. This project aims to reveal the vital importance of the imaginary for our possibilities of community, culture, and connectedness. I will use the work of Julia Kristeva to explain how we benefit from a symbolic that is supported by a robust and dynamic imaginary that springs from our embodied life. My thesis is that the foundation of the imaginary is best conceived as acoustical rather than visual. The contemporary experience that best recovers these representational capacities is found in our making, hearing, and sharing music. The current crisis of meaning can be ameliorated and subjectivity can be restored when aesthetic experiences and artistic practices rehabilitate the semiotic body as a source of meaning.
14
Lee, Brian. "Maladies of the modern soul : Kristeva, Lawrence, and the post-metaphysical subject." Thesis, Swansea University, 2005. https://cronfa.swan.ac.uk/Record/cronfa42725.
Full textAbstract:
This thesis situates some letters, novels and essays by D. H. Lawrence within a frame of Julia Kristeva's later-period ideas (from Powers of Horror onwards) about the modem subject experiencing an oedipal crisis of identity, coextensive with loss of faith in cultural metaphysical discourse. In it, I identify a number of key Kristevan themes and perspectives: symbolist aesthetics, adolescent psychology, sacred logic, amorous discourse, and, in the last chapter, a nexus of foreignness, fascism and homosexuality. In doing so, I often take a somewhat oblique approach to Kristeva's "abject" discourse, which then feeds into my readings of Lawrence. For example, I conflate Kristeva's semiological account of the adolescent psyche with Anna Freud's seminal study of the biological adolescent, and view Lawrence accordingly. This interlacing of oedipal and pre-oedipal theory offers an innovative aetiology in regard to Kristeva, while it reflects my emphasis throughout the thesis on the artist's borderline crisis, rather than, as is more typical in Kristevan criticism, affirming the poetic imaginary. Similarly, I conflate Kristeva's account of the psychological equivalence of fascism and modem art with Klaus Theweleit's censuring analysis of fascist texts. This generates an ethical and historical register for Lawrence's para- fascist expressions, within my exploration of the semiotics of the abject text. Kristeva never mentions Lawrence, while this thesis is unique as a full-length juxtaposition of a major and much-analysed modemist and a crucial postmodem- analytic theorist. My hope is that its operation within the fields of literary studies and linguistic psychoanalysis will stimulate wider academic interest in negotiating the two writers. My Conclusion, which elaborates Kristeva's own discourse as a product of unconscious phantasy, gestures ahead to a proposed comparative study. I end the thesis by speculating about its implication with my own, possibly abject, phantasy, while insisting on the validity of the production.
15
Pulls, Sofia. ""Mörkret har förebådats med mörker" : En läsning av tomheten i Christine Falkenlands Blodbok." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-6417.
Full textAbstract:
This thesis has two purposes: (1) to analyze the emptiness in Blodbok by Christine Falkenland, and (2) to analyze my own reading of the same book. I have chosen to focus on how emptiness is expressed through the body, the language and the place in Blodbok, because of the deep impact these seem to have on the emptiness. The thesis discusses what kind of emptiness that is described, what it does to me as a reader, and how it is connected to other works by Falkenland. Cultural politics of emotions by Sara Ahmed, Uses of literature by Rita Felski and Pouvoirs de l’horreur by Julia Kristeva together form the theoretical framework. Blodbok is a poetry collection, about the loss of a mother. The first part of the thesis shows how emptiness is connected to the borders of the body. When the borders of the body are solid, emptiness is expressed trough the I’s will to pass these borders, to become a part of the mother or at least less lonely. When emptiness surround the I her body becomes indistinct and borderless, which makes the emptiness take place both inside and outside the body. The indistinctness of the body also leads to confusions between the body of the mother and the body of the daughter (the I), which also implies an uncertainness about the limit between life and death. This uncertainness becomes ‘sticky’, and I experience my own body being more borderless than before, and threatened by the death in the same manner as the bodies in the book. Emptiness also takes place as a part of the language in Blodbok, because of its inability to describe the feelings of the I. Though, in what I have called the simple language, for example clichés, the I find a way to express some of the despair, loss and fear that she feels. As a reader I find it very releasing when the I manage to express the emptiness in words. Even if loss is described I feel satisfaction while reading, because I recognize myself in the feelings of the I. I find the text being a witness to a horrible feeling and by functioning as a witness the poem moves the feeling from inside of me, to the outside. The place in Blodbok is connected to emptiness by being the place where life meets death. It is in this place the I circulate, and the emptiness and death is described again and again through the circulation. The place becomes the centre of the book, it is at the same time the beginning and the end. The thesis also shows how the emptiness in Blodbok corresponds to emptiness in other works by Falkenland. The emptiness is Blodbok isn’t empty; it is filled with death, horror, loneliness, love, mourning and loss. This emptiness ‘sticks’ to me as a reader. By picturing an in many ways indescribable emptiness, Blodbok manages to give me a feeling of satisfaction, a feeling of being filled.
16
Gomes, Júnior Edmundo. "Mal sabia ele... : a intertextualidade literária no filme Mais estranho que a ficção." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/2184.
Full textAbstract:
Made available in DSpace on 2016-03-15T19:45:56Z (GMT). No. of bitstreams: 1
Edmundo Gomes Junior.pdf: 1012907 bytes, checksum: d9fc3f62b706eeff0f0b3921bc082da9 (MD5)
Previous issue date: 2013-12-12Universidade Presbiteriana Mackenzie
This essay aims to analyze the film Stranger Than Fiction (2006), directed by Marc Foster, following of the concept of intertextuality, created by Julia Kristeva. It presents a survey of the literary works mentioned in the film and their effects on film narrative, in order to discuss how intertextuality enables the production of meaning. For this analysis the origin of this concept is researched, confronting the dialogism of Mikhail Bakhtin with Kristeva's texts. Kristeva also developed the concepts of ambivalence and transposition, terms that are used later on by other authors. During the analysis it was possible to see through the intertexts in the film the Prometheus theme repeated in the nature of fictional creation, where creator face decay, the similarities between the representations of mentors in fiction in relation with the epic hero's journey, as the use of ecphrasis as an anticipation of the outcome of the story and the formation of the identity of the characters work through dialogue.
Este trabalho tem como objetivo analisar o filme Mais estranho que a ficção (2006), dirigido por Marc Foster, no viés do conceito de intertextualidade, criado por Julia Kristeva. É apresentada uma pesquisa sobre as obras literárias citadas na película e seus efeitos na narrativa fílmica, visando assim discutir de que modo a intertextualidade propicia a produção de sentido. Para essa análise foi levantada a origem desse conceito, confrontando o dialogismo de Mikhail Bakhtin com os textos de Kristeva. A autora elaborou, além da intertextualidade, os conceitos de ambivalência e transposição, termos que são empregados posteriormente por outros autores. Durante a análise foi possível notar, através dos intertextos presentes no filme, a natureza prometaica da criação ficcional, onde criadores enfrentam a decadência, as semelhanças entre as representações dos mestres na ficção em relação à jornada do herói épico, a utilização da écfrase como antecipação do desfecho da estória e a formação da identidade das personagens da obra através do diálogo.
17
Widén, Carl. "A Monumental Transgression : Incest, Abjection and the Unrepresentable in Paul Auster's Invisible." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-15814.
Full textAbstract:
This essay offers an analysis of Paul Auster's novel Invisible. The main focus of the essay is on the incestuous love affair between Adam Walker and his sister Gwyn. It is argued that the novel via this incestuous affair is addressing the issue of the unrepresentable, what Lacan termed the “real” that lies beyond the symbolic order. It is shown that the concept of the unrepresentable has been a central theme in Auster's work throughout his career. The main theoretical foundation of the essay is Julia Kristeva's theories regarding the “abject.” A summary of Kristeva's theories is therefore offered, as well as a summary of research into the incest taboo.
18
Wilson, Brandy Michelle. "A Semanalytic Approach to Modern Poetry: Examining Elizabeth Bishop Through the Theories of Julia Kristeva." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/42107.
Full textAbstract:
In utilizing Kristeva's psychoanalytic discursive theory of identity-formation within literary symbolic structures, my thesis seeks to follow the ontological processes involved in identity and signification in “subversive” signifying practices. Specifically, I'm interested in the ways modern poetry (such as Elizabeth Bishop) defies traditional patriarchal discourse as dominant literary devices while embracing plurality and inherent virtues of the female voice. My project will trace Kristeva's semiotic/psychoanalytic evolution from linguistic models of the signifying process, to particulars of her psychoanalytic/linguistic theories, and finally, will attempt to construct a space within modern poetry, where it can be said, the subject (poet) remains on trial/in crisis, and poetic expression reveals the “jouissance” or unspoken voice of repression.
Bishop's poetry constantly questions reality, knowledge, sexuality and the self. I strive to expose how Bishop's poetry performs Kristeva's theory of the self in writing; her poetry puts at the core of the self a sense of loss in her attempts to express herself in language. I offer close readings of “The Fish,” “Questions of Travel,” and “One Art,” to show how Bishop's self exposes the unconscious process of poetic activity. Kelly Oliver articulates Kristeva's contributions to linguistics and psychoanalysis quite succinctly, “When we learn to embrace the return of the repressed/the foreigner within ourselves, then we learn to live with, and love, others” (14).Master of Arts
19
Meng, Qingya. "Le voyage en Chine de Tel Quel et de Roland Barthes (1974). Enjeux, embûches, enseignements." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30024/document.
Full textAbstract:
La thèse est consacrée au voyage en Chine (1974) de Philippe Sollers, Julia Kristeva et Marcelin Pleynet, représentants de la revue Tel Quel, avec Roland Barthes et son éditeur François Wahl. La question principale porte sur l’hétérogénéité des textes rédigés à propos de leur séjour au pays de Mao en pleine Révolution culturelle. Les publications correspondent à différents genres textuels : essais, romans, chroniques du journal, articles de presse et carnets de voyage. Avant le départ, les écrivains fantasment sur la Chine ancienne et contemporaine. C’est ce qui fait l’objet de la première partie de la thèse. Dans la seconde partie, il s’agit d’interroger les textes du corpus qui mettent en lumière les difficultés liées à l’idéologie imposée et vécue par les auteurs pour rendre compte du réel en Chine. La troisième partie portant sur les enseignements du voyage montre que ce dernier réapparaît sous forme de souvenirs inoubliables dans plusieurs textes des écrivains. Plus on s’éloigne de 1974, et plus la mémoire individuelle réactive de façon aléatoire le temps du voyage. Pour Barthes, il s’agit de savoir comment il a vécu la Chine, pourquoi il a gardé le silence à son retour, pourquoi il n’a pas cherché à publier les carnets de notes rapportés de son séjour. La thèse s’achève sur une lecture inédite des œuvres du corpus à travers un mot clé « la fadeur de la Chine ». Cette image est la plus vraie pour décrire l’Empire du Milieu mais elle n’est pas celle que les voyageurs s’attendaient à rencontrerThis thesis is devoted to the trip to China made by Philippe Sollers, Julia Kristeva, Marcelin Pleynet, Roland Barthes and François Wahl in 1974. This study mainly concerns the heterogeneity of all the publications about their stay in Mao’s country in full Cultural Revolution, including essays, novels, travel journal, press articles and travel notes. In the first part of the study, we seek to understand how the members of the literary magazine Tel Quel dreamed to China, which they considered to be both ancient and modern before the travel. In the second part, we examine each text of the corpus to see the difficulties faced by the authors when they tried to account for the real China, including the imposed ideology. In the third part, we aim to ask how the trip in Communist China becomes an unforgettable memory in these travelers’ text. The more time goes by, the more travel memories reappear. In addition, we study Barthes to understand how he lived during his stay in China, why he kept silent after he returned, and why he didn't publish his notebooks of the trip before his death. At the end of the thesis, the unprecedented reading of texts of the corpus presents a key-word, the “insipidity of China”, a metaphor that is most trued to describe the middle Empire
20
Adler, Marianna. "Psychoanalysis as a praxis : metapsychology and ethics in the work of Freud, Lacan and Kristeva /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
Full text
21
O'Loughlin, Antoinette, of Western Sydney Nepean University, and of Performance Fine Arts and Design Faculty. "The ambivalent skin of language." THESIS_FPFAD_XXX_OLoughlin_A.xml, 1993. http://handle.uws.edu.au:8081/1959.7/208.
Full textAbstract:
The position of the maternal body within patriarchy is the topic of this discussion where, rather than looking at a linear sequence of events, various aspects of this position are explored. On an individual level, the intrusion of the father into the dyadic, and potentially incestuous mother-child relationship, marks the entry of the child into the Symbolic Order, and this reflects the mythical account of creation in the Old Testament, where actual maternity is repressed in favour of a paternal monopoly in creation. Just as monotheism both represses and appropriates many aspects of the goddess cult which preceded it and which it replaces, the maternal body is repressed and appropriated within patriarchy. The acquisition of language and awareness of sexual difference marking entry into the 'Law of the Father,' are constructed on a duality of self and other, a dichotomy of inside and outside with a border, represented by the skin, separating the two. This border, separating the symbolic from its other is tenuous and ambiguous, for it is not entirely impermeable barrier. What seeps across this border, what transgresses the barrier between inside and outside, is considered by Kristeva to be abject. Positioned at the threshold separating inside and outside, abjection is the threat of the ever present, but submerged mother crossing the threshold and disrupting social order. Throughout the paper are images selected from an entire body of related visual research which is closely linked to the ideas contemplated here.Master of Arts (Hons)
22
Hedman, Sofia. "Påverkan : Hur intertextualitet påverkat innehåll och berättarröst i romanen Panik (Den ätbare mannen)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27337.
Full text
23
Ljungar, Hedvig. "Kvinna, konstnär eller människa? : en studie av Mimmis slitning mellan intellekt och kropp i Stina Aronsons Feberboken." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100784.
Full textAbstract:
I uppsatsen undersöker jag hur huvudkaraktären Mimmi, under vägen att etablera sig som författare och i mötet med Hugo, söker nå balans mellan intellekt och kropp. Utifrån Julia Kristevas teori om abjektionen utforskar jag på vilka sätt Mimmi förhåller sig ambivalent till viljan att vara å ena sidan innesluten, å andra sidan avgränsad, och hur i sin tur synen på kroppen, dess samverkan med själen samt synen på andra kroppar präglas av begär och äckel. Som metodisk språngbräda använder jag paradoxen utifrån Kristina Fjelkestams definition. Med hjälp av den jag fokuserar på motsättningar och dubbeltydigheter hos karaktären och i texten utifrån frågeställningen: hur ser spelet ut mellan Mimmis förhållande till kroppen (Kvinnan) respektive själen (Konstnären), och är det möjligt för henne att förena kropp och själ i något som skulle kunna bli en fullbordad Människa?
24
Mann, Sally. "The notion of the self with special reference to Karl Rahner and Julia Kristeva." Thesis, University of Greenwich, 2006. http://gala.gre.ac.uk/6237/.
Full textAbstract:
This work considers Karl Rahner’s theology of the person as hearer through a critical engagement with Julia Kristeva’s post-structuralist notion of the speaking subject. This offers an experimental exploration of contemporary theological understanding of subjectivity, with specific reference to ideas of relationality, and with a particular interest in the possibility of dialogue with post-structuralist ideas. From separate disciplines, with different tools and to different effects, Rahner and Kristeva reject the modernist cast of the human self. They demonstrate a common desire to explore subjectivity as a notion that has been problematised. In examining the person as hearer and the speaking subject together we discover a surprising number of areas of coherence as well as those of fundamental divergence. To this end we consider our theorisits’ pre-supposed arenas for human subjectivity, their epistemologies, and the importance each gives to language and otherness. We also examine how they relate intra- and inter-relationality. For Kristeva this involves a consideration of notions of the M/Other, the semiotic and the stranger in society. With Rahner we consider the social Trinity, the self-alienation of symbolism and the concept of neighbour-love. We suggest here that Rahner both pre-empts aspects of current theological interest in subjectivity and provides important resources that are especially useful in relating theology to post-structuralist notions.
25
Cooper, S. "Relating to queer theory : rereading sexual self-definition with Irigaray, Kristeva, Wittig, and Cixous." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597971.
Full textAbstract:
My doctoral thesis questions a specific paradox and I identify in the work of contemporary North American queer theorists. At this particular historical moment, the majority of queer theorists who position themselves in their writing self-identify as lesbian, gay, or queer. Although I concede that this link between identity and stance is crucial to queer theory, I question its exclusivity. I contend that the queer-, lesbian-, or gay-identified theorist is currently positioned within this theoretical field as the only person who can do queer theory. An important facet of much queer theoretical writing is devoted to the deconstruction of identity categories in order to emphasize relations rather than divisions between sexualities. With this in mind, I argue that the implicit and as yet unquestioned link between one's identity and one's ability to write queer theory can be read against the desire among many queer theorists for a more relational line of thought. This new line of thinking would not make queer, lesbian, or gay identity the only ethical position from which one can relate to queer theory. In my thesis I theorize precisely this possibility of an ethical relation to queer theory on the part of the straight- or bisexual-identified reader. In order to question the exclusive queer theoretical link between sexual identity and stance, I turn to a different but related theoretical area. Critical engagement with the texts of four French feminist theorists, (Luce Irigaray, Julia Kristeva, Monique Wittig, and Hélène Cixous), permits me to envisage a different relation between queer theory and its readership. My overall aim in the thesis is to open up an ethical space that permits readers and writers to articulate a relation to what they may not have experienced themselves.
26
Gambaudo, Sylvie. "Subjectivity in the work of Julia Kristeva : the crisis of identity in contemporary society." Thesis, Durham University, 2003. http://etheses.dur.ac.uk/1091/.
Full text
27
Ramirez, Ricardo R. "Your Abjection is in Another Castle: Julia Kristeva, Gamer Theory, and Identities-in-Différance." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/560.
Full textAbstract:
Typified rhetorical situations are often a result of normalized ideologies within cultures; however, they also have the capability to produce new ideology. Within these discursive sites, identities are constructed among these normalized social acts. More importantly, these identities are constructed across many layers, not limited to one social act, but many that overlap and influence each other. In this paper, I focus on the identities that are constructed in marginalized spaces within sites of interacting discourse. Focusing on the rhetoric of abjection posited by Julia Kristeva, along with McKenzie Wark’s exploration of gamespace, a liminal theoretical space that encompasses the sites of analysis and ideology formation from the perspective of gamers, I analyze disruptions of normalized social practices in the gaming genre in order to implement the use of abjection as a method of understanding how sites of difference produce meaning for minoritarian subjects.
28
Foust, Elisha. "A theoretical account of female ethical responsibility : Emmanuel Levinas with Lucy Irigaray and Julia Kristeva." Thesis, Royal Holloway, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538773.
Full text
29
Johnson, Tomas. "Nihilistic uncertainty : Freud, Kristeva, Keynes and the rise of ethno-nationalism in Yugoslavia 1980-1990." Thesis, London School of Economics and Political Science (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325454.
Full text
30
Pulls, Sofia. "Äckellust : En läsning av Eva Sjödins Gränsland utifrån Julia Kristevas teori om abjektion." Thesis, Södertörn University College, School of Gender, Culture and History, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1076.
Full textAbstract:
Gränsland is a poetry collection by the poet Eva Sjödin. One distinct theme among others in Gränsland is repulsion and attraction, disgust and fascination in interaction. There is also a direction inwards and towards something. This essay is an attempt to analyse this theme. I will apply Julia Kristevas theory on abjection, a theory that explains these contradictory feelings and movements of the subject. The first part of the analysis is about how abjection is expressed through the ego in situations concerning eating, sickness and hunger and the colour red. The last part shows how the text itself expresses abjection, and becomes abject, through its explicitness and repetitive form.
31
Kaschock, Kirsten. "Moving through the Unsayable: Applying Julia Kristeva's Semiotic and Abject to Choreographic Analysis." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/235678.
Full textAbstract:
DancePh.D.
This dissertation explores literary-theoretical constructions arising from the consideration of certain non-narrative linguistic strategies and applies them to dance analysis. My intent is not only to provide new, functional tools for dance scholars and writers, but also to alter the theoretical terms themselves: by employing literary critical language beyond its original purpose, I hope to locate the limits of that language as it applies to dance. Moreover, I strive to identify the ways moving bodies complicate concepts normally applied to static and disembodied text. In this way my research moves in two directions: adding a specific theoretical lens to the dance-writing toolbox, and, in turn, using dance to sharpen and focus that lens. I have chosen two theoretical constructs--Julia Kristeva's explication of the semiotic aspect of language and her characterization of the abject--because of the ways they address the unsayable through body, repetition, and rhythm. Kristeva's texts, Desire in Language (1981) and Powers of Horror (1982), provide the dissertation's primary theoretical frameworks. The first text puts forth key concepts about heterogeneous meaning within her conceptualization of the semiotic; the second addresses meaning that exceeds language, and the self, and arises out of the abject (a crisis of the subject when confronted with a breakdown of boundaries between self and other). Both concepts are relevant to dance, emerging from the materiality/substance of language rather than from language as a phantom structure that ideas are placed into. This dissertation grapples with how dance strives to express that which exceeds "paraphrasable" meaning from three vantage points: 1) the assessment of the critical reception of historic choreography (Paul Taylor's Big Bertha) that plays simple narrative against the horror of the unknown; 2) an examination of participants' communications during the choreographic process of innovative choreographer, Gabrielle Lamb, and how research material was transformed during that process; 3) the documentation of my own struggle to express the unsayable during the creation of a hybrid dance/textual piece. These perspectives require different analytic strategies: 1) the casting of an artwork's meaning in historical and cultural contexts, 2) the parsing of the language used to communicate meaning between participants during the creative process, 3) the self-chronicling and reflective analysis of meaning-making during the conception and execution of a hybrid work. My objective is to show how Kristeva's theoretical constructs play out in different types of dance analysis and how the lack of a certain strain of theoretical language in dance discourse has left a hole where discussion might profitably ensue. I seek to use Kristeva's texts and post/modern techniques of the body to offer a multi-layered and technically invested understanding of dance rather than an aphoristic and imagistic one: one that substitutes multiple, specific bodies and their actions for a single idealized institution of the beautiful.
Temple University--Theses
32
Schippers, B. "The politics of marginality : a critical assessment of the ideas of Julia Kristeva and Judith Butler." Thesis, Queen's University Belfast, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419428.
Full text
33
Lindmark, Jenny. "Cleaning Away the Bad Stuff : A Comparative Analysis of the Use of Cleaning for Getting Rid of Monstrosity in Dead Until Dark and Shakespeare's Landlord." Thesis, Umeå universitet, Institutionen för språkstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135056.
Full textAbstract:
Abstract This essay is analysing the presence of cleaning and grooming in the novels Shakespeare’s Landlord and Dead Until Dark, both by Charlaine Harris. Against the backdrop of teratology, the essay demonstrates how cleaning and grooming are means for the female protagonists Lily and Sookie to get rid of their inner and outer monstrosities. Their respective monstrosity is defined against the definition of monstrosity by David J. Skal in Monster Theory Seven Theses and the need to get rid of monstrosity is discussed against the theories of Julia Kristeva and Mary Douglas.
34
Isaacs, Thomas George. "Sacrificial Bodies: Body Art, Ritual and the Problem of Alienation." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29170.
Full textAbstract:
Ritual has been an important influence on the development of performance art, such as the primitivism in the avant-garde performative practices of Dada and Surrealism, the Zen- influenced performances of Fluxus, and the transgressive performances of the Viennese Actionists and the 1970s body artists informed by psychoanalytic theory. However, more recent scholarship, such as that by Australian art historian Anne Marsh, has highlighted important differences between traditional ritual and performance art, as well as the problems of appropriating so-called "primitive" cultural practices. Nonetheless, comparisons with and allusions to ritual remain popular for artists and art critics. To what can we attribute the continued interest in ritual despite these criticisms? I propose that the problem of alienation has been the primary driver of the use of ritual in performance art and avant-garde performative practices, from Dada to the body art of the 1960s and ‘70s. In his seminal work Ritual and Religion in the Making of Humanity (1999), US anthropologist Roy Rappaport attributed the problem of alienation to the development of consciousness and the acquisition of language, but argued that the experience of alienation could be ameliorated through participation in ritual. Rappaport’s understanding of alienation bears remarkable similarities to psychoanalytic theories of alienation, particularly those presented by French psychoanalyst Jacques Lacan. Although body art does not function as ritual, Bulgarian-French psychoanalyst Julia Kristeva has suggested that it may perform a similar alleviating function. By analysing contemporary body art works through anthropological perspectives on ritual and through the psychoanalytic theories of Lacan and Kristeva, I aim to clarify the relationship of body art to ritual and alienation, and to explore a number of ways that body art might address the problem of alienation.
35
Taylor, Anne. "An Amorous Ethics: Virtue and Vice in Contemporary Art." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/367308.
Full textAbstract:
My doctoral project examines the intersection of ethics and aesthetics in contemporary art, through the philosophy of Emmanuel Levinas, the feminisms of difference developed by Luce Irigaray, Julia Kristeva and Bracha Ettinger, and environmental concerns. An intrinsic ethics underlying art practice, in its production and reception, is proposed, with reference to the transgressive, relational and ecological fields.
The studio work centers on the ocean and swimmers as an evocation of the feminine and intersubjectivity, combined with images of technological and scientific intrusions, executed in the mediums of painting, printmaking and drawing. In the development of the images I balance the structuring of technique and concepts with the theoretical work, so that a creative interaction is sustained.
I have focused my theoretical study on the philosophy of Emmanuel Levinas, in which the foundation of subjectivity is placed in the encounter with the other, as an irreducible difference embodied in the face to face experience. The problems and aporias of Levinas’ account are addressed by several critics, including the feminist philosopher and psychoanalyst, Luce Irigaray, who introduces a body of thought which has radically revised thinking on sexual difference. The work of Julia Kristeva and Bracha Ettinger offers differing versions of a feminine ethics, which they relate specifically to works of art. The feminist focus on materiality and embodiment is developed in the discussion on the ethical dynamics of art practice, and the analysis of our interactions with and dependency on the natural world, extending to the environment and non-human entities the Levinasian concepts of proximity, contact and sensibility. The intersection of the scientific and aesthetic fields is examined to clarify the role of interpretation in providing a general understanding of unfamiliar processes or concepts, leading to a more informed ethical awareness. The diversity of contemporary art practices allows the ethical dimension to manifest in a variety of ways, ranging from the cathartic shock of transgression to the participatory, dialogic interventions of relational art. All forms of art sharpen our awareness of the workings of affect in ethical decisions, by orchestrating an intuitive interplay of the psychological and sensate realms.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
36
Hendry, Marie. "Boundary and Longing: Narrative Modes in Mary Shelley’s Frankenstein and The Last Man." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/289.
Full textAbstract:
Boundary and desire surround the relationships in Mary Shelley's Frankenstein and The Last Man. The narrative modes of Captain Robert Walton relate his separation to the rest of the world and his need for companionship. Yet, not any companionship will satisfy his longing for connection with a human being; his search revolves around the need of common understanding. This further separates the character of Lionel in The Last Man from humanity in that he is unable to find anyone left on earth after a series of plague, war, and atmospheric anomalies apparently wipe out the human race. His survival hinges on the desire to find someone, anyone, in which to share any mode of common experience. His struggles with loneliness finally culminate in his autobiography.
Both Frankenstein and The Last Man deal with the issue of narrative and the bounds of human necessity for acceptance and companionship. Though both tales are from a male perspective, the gendered aspects of the stories further separate the characters in each novel. How each character is estranged by forces outside their control, and how they express this relationship between their internal selves and their outer selves, are at the core of each text. Through these ideas of boundary and belonging, this thesis will explore the relationships in Frankenstein and The Last Man.
37
Parsons, Louise Ann. "An analysis of 'The Gold Diggers' (1983) by Sally Potter : feminist film, Julia Kristeva and revolutionary poetics." Thesis, University of Leeds, 1994. http://etheses.whiterose.ac.uk/714/.
Full textAbstract:
Sally Potter's film The Gold Diggers (1983) occupies an important place in the cultural politics of feminism. It poses the question of female subjectivity through a critical exploration of the structuring linearity of classic narrative film. Casting Julie Christie and Colette Laffont as co-stars, the film explores the relationship between the female spectator and two cinematic portraits: the over-exposed white female star and the under-represented black woman. Mobilised by their mutual desire for change, the white star escapes her pre-given status of screen goddess and the black woman adopts the role of investigative agent. Bringing together two women who have been divided by constructs of race, class and culture, Sally Potter is disrupting a prohibited story and making it possible within the parameters of feminist intervention in the cinema. Based on a detailed survey of the text, interviews and preproduction/production material located in hitherto unexamined archives, the thesis reconstructs for the first time an analytical script for The Gold Diggers. This enables the spectator to identify the film's episodic structure, montage system and camerawork and explore the innovative possibilities generated in response to the cinematic orchestration of voice, music, ambient sound and image. Although, at the level of content, The Gold Diggers draws on an Irigarayan critique of woman as commodity in patriarchal society, the film can be analysed using Julia Kristeva's models of revolutionary poetics and the analytic relation. With reference to Kristeva's theoretical precepts the thesis focuses on the new meanings generated by two women who are exploring the economic, political, psychic and cultural sources of their oppression. In Part I of the thesis, I examine the film's context within feminist cultural politics of the 1970s and address its strategic reworking of the conditions and conventions of twentieth century filmmaking; I give an introduction to and overview of the script; and I present an account of Kristeva's theories of subjectivity, signification and change. Part II consists of a succession of sharply focused segmental analyses of the text which demonstrate how the film contributes to and gives voice to the political revolution in female subjectivity and its representation through cultural practices.
38
Orlic, David. "Kristian Lundbergs gudomliga komedi : En intertextuell analys av Yarden, Mörkret skulle vara som ljuset och Och allt skall vara kärlek." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-175001.
Full textAbstract:
This essay explores the intertextual qualities in and between Kristian Lundberg’s works Yarden, Mörkret skulle vara som ljuset and Och allt skall vara kärlek. Read as a trilogy, it bears a thematic resemblance to Dante Alighieri’s Divine Comedy; an autofictional depiction of emancipation from alienation by grace. To reach this conclusion, I use Julia Kristeva’s theory of intertextuality and Roland Barthes’ post-structuralist differention of Work and Text together with his notion of the Paper-Author. Through a kaleidoscopic reading of the two trilogies, Dante and Kristian become pilgrims in the word’s true, etymological sense: foreigners, both religious and materialistic. As such, they walk the spiritual and material world making no distinction between the two towards a love whose essential nature is twofold: at once human and divine.
39
Daroczi, Sandra. "Readerly dialogues : reception, intertextuality, and the 'other' in contemporary French women's writing." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32636.
Full textAbstract:
This thesis focuses on the reading of fiction written by contemporary French women authors, namely Julia Kristeva, Marie Darrieussecq and Monique Wittig, establishing the reader as an active and engaged actor in meaning creation. The reader enters into dialogue with the text, the author, the narrator(s) and the characters, carving out an imaginative readerly space in fiction. The main aim of this thesis is to examine how this space comes into being, and what tools are needed for its exploration. Concepts from three main theoretical fields are used to set the parameters for this readerly space: reception studies, intertextuality, and theories of the other. As was observed by Elizabeth Fallaize, reception studies and women’s writing have not been meaningfully combined. This thesis responds to this gap in research, simultaneously expanding our interpretations of the texts by looking at the multitude of intertextual links that can be established, and at the way reading influences our relations to the other. The Introduction examines the above-mentioned three theoretical areas, alongside elements such as the tasks of the reader, the materiality of the book, and the impact of reading groups. Chapter One examines two of Kristeva’s most recent works of fiction — Meurtre à Byzance and Thérèse mon amour — studying the mise en abyme of reading and writing, the issues that can arise from extensive intertextual links and autobiographical projections, and introducing concepts such as the reading Carmel and the text as Trojan Horse. Chapter Two explores the Darrieussecq-ien aesthetic universe, starting with a consideration of the four different types of intertextuality identified in Darrieussecq’s fiction. Darrieussecq’s work with language is analysed, before introducing the concept of the fiction of honesty. The fiction of honesty allows us to explore the relationship of trust between the reader and the narrator, while an analysis of the inscriptions of time offers a better understanding of the chronologies of the reading process. Chapter Three investigates Wittig’s works, focusing on her linguistic innovations, rewriting of myths and foundational stories, extensive use of sensorial writing, and links established between fiction and socio-political activism. Chapter Four considers the media reception of the three authors, introducing resources that are not easily accessible to Anglophone audiences. The Conclusion offers an overview of the findings of this thesis, before opening onto further avenues for research.
40
Rushworth, Jennifer Frances. "Discourses of mourning in Dante, Petrarch, and Proust." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4efea31d-85c5-4a68-893e-ac694ebfa08d.
Full textAbstract:
This thesis interpolates medieval and modern authors and theorists, namely Dante, Petrarch, and Proust on the one hand, and Freud, Kristeva, and Derrida on the other. I propose that these writers are intimately connected and differentiated by their meditations on grief and loss. I compare, confront, and contrast these narratives of mourning in a discursive shuttling to and fro between medieval and modern, French and Italian, and literature and theory, in order to delineate the specificities of different forms of melancholia as legible in Dante’s Commedia, Petrarch’s Canzoniere, and Proust’s A la recherche du temps perdu, and as illuminated by Freudian melancholia, Kristeva’s Soleil noir, and Derrida’s concept of ‘demi-deuil’. I challenge the homogeny of the modern concept of melancholia and juxtapose it with the medieval sin of acedia in Dante (Inferno VII) and Petrarch (considering both the Secretum and the Canzoniere). From the examples of the treatment of the myth of Orpheus and the book of Lamentations, I argue that discourses of mourning are trapped in a fruitful tension between a desire for uniqueness or originality and a desire for legibility or the comfort of communality. In Girardian terms, I define literary representations of mourning as ‘mimetic’, that is, caught in a web of intertextual imitation and preoccupations of genre and tradition which are at odds with a quest for new forms of writing. Finally, I contend that the relationship between content and form is particularly close in grief-stricken texts, and characterise my chosen primary texts – including Dante’s Vita nuova – according to the twin poles of endlessness (which I equate with melancholia) and finitude (the teleological, closed nature of the work of mourning), with a Derridean alternative of unstable oscillation between the two (‘demi-deuil’).
41
Bradley, Alex Cilla. "The photographic other: Paradox in the cathexis of longing." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2054.
Full textAbstract:
A photographic and written examination of paradox in relation to the photograph
This research aims to illuminate the relationship between paradox and photography, elaborated via Julia Kristeva’s notion of the abject. Paradox is considered in relation to photography in terms of repeated and unresolved debates about the status of the photograph as either an ‘index of reality’ (Bate, 2004, p. 1) or as a sign. The significance of this research lies in its re-motivation of abjection in terms of paradox, not in order to resolve such debates but, rather, to illuminate the importance of such unresolved contradictions in terms of photography’s often powerful affect and meaning. Situated within the paradigm of qualitative research, the research employs the theoretical perspective of post-structuralist psychoanalysis, combined with the methodology of critical analysis, as an approach appropriate to illuminating latencies within representation. Photographs by Jeff Wall, Pat Brassington, Patricia Piccinini, Roger Ballen, and Bill Henson, are critically analysed as informationrich case studies of the use of photographic paradox. The creative component of the research is presented in the form of a web site consisting of photographs and animations of photographs, that collide aesthetic constructions of the body as an objective, external, object of an other’s vision with a more sensory, and personal, experience of the body as the site of inner subjectivity. As such, the camera lens functions as a metaphor for each of these constructions, while body parts and fluids vie with objects of memory and optical imaging, repeating and transforming existing objects into new aesthetic forms. As with the case studies of photographic paradox, this photographic project makes explicit the workings of paradox, revealing repeated and unresolved contradictions that serve to create contemplative and often powerfully affective experiences of viewing.
42
Christodoulides, Nephie J. "Out of the cradle endlessly rocking : Sylvia Plath as mother-creator in light of Julia Kristeva's theory of subject formation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/3467.
Full textAbstract:
This introductory chapter aims to briefly address the theoretical approach used in my dissertation, situating Julia Kristeva in relation to Sylvia Plath's work, as well as to place my work among particular psychoanalytic studies of Plath. 'Initiation' further continues by briefly discussing the way primary and secondary data are utilized in the dissertation and developing the rationale behind juxtaposing biographical material (mostly journals and letters) and creative work, life and art. The chapter finishes by giving an overview of the dissertation organization. The purpose of this dissertation is to discuss the notion of motherhood in Sylvia Plath's work in light of Julia Kristeva's theory of subject formation. For Kristeva, as subjects, we are never the absolute masters of our own experiences, but split subjects divided between unconscious and conscious motivations, inhabiting both nature and culture. The subject is not only split, but is also a 'subject in process' ( sujet en proces); s/he is always on trial, tested in a way against his/her various contexts (Revolution in Poetic Language 22,58,233 ). Kristeva is concerned with discourses that call up a crisis in identity and for her the discourse of motherhood is such a discourse. Motherhood is also characterized by an instability as it takes place at the level of the organism, not the subject : 'It happens but I'm not there' ( 'Motherhood According to Giovanni Bellini' 237 ). The maternal body is a place of splitting; it is more of a filter than anything else - a thoroughfare where nature meets culture ( ibid. 238 ). Neither parturition nor the birth itself are final. They are, as it were, beginnings of something other than themselves - the onset of maternity for the woman, the beginning of life for the child (Robbins 138 ).
43
Tormey, Jane. "The photographic portrait : directions of meaning and the ineffable (1970-2005)." Thesis, Loughborough University, 2006. https://dspace.lboro.ac.uk/2134/7961.
Full textAbstract:
This thesis uses the photographic portrait as an example of contemporary art practice to examine developments in aesthetic sensibility and constructions of meaning with particular address to ineffable qualities in both the subject and in the photograph. It examines the contribution of practice to a wider cultural debate, predominantly described as poststructural. Thomas Ruff's contention that it is impossible to photographically depict an individual, establishes a methodology that interrogates assumptions and directs examination toward reconfiguring issues of theory and practice. In the photographic portrait, what is `essential' equates with the expectation of visual statements that are definitive and what is 'ineffable' is that which transcends words. The persistent premise of capturing the 'essence' is dependant on the notion of 'presence', the certainty of pure perception or essential meaning, now undermined by poststructuralism in terms of conceptions of meaning and authorship. If essential depiction is problematic, how might a correlative adjustment to conceiving and validating photographic meaning be framed? How are essential or ineffable qualities displaced, formed and manifested? What constitutes the contemporary 'meaningful' portrait? Realigned as 'depictions of people', the 'portrait' serves a complex function, adjusted in the light of psychoanalysis and poststructuralism and visibly manifested as metaphor for contemporary consciousness. With particular reference to texts by Julia Kristeva, Emmanuel Levinas, Jacques Derrida and Jean Baudrillard, this thesis demonstrates photographic practice as a form of discourse that visualises implicit truth-values, and participates in debate. It asserts figural interpretations to photographs over literary systems like narrative, and immanent property over aspirations to 'transcendence' or 'essence' and proposes reconfigurations of psychological, critical or poetic 'fiction' as alternatives. It repositions the ineffable as a conceptual domain of possibility that assimilates the dynamic of differance as its poststructural equivalent and proposes a conceptual aesthetic that celebrates aspects of poststructuralism and is rooted in what the photograph provokes rather than what it depicts.
44
Priebe, Anna Catherine. "“May I Disturb You?”: Women Writers, Imperial Identities, and the Late Imperial Period, 1880–1940." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054329059.
Full text
45
Stowe, Lisa Roxanne. "Thompson's family values : Judith Thompson's rupturing of the traditional family unit /." Internet access available to MUN users only, 1996. http://collections.mun.ca/u?/theses,192073.
Full text
46
Adolfsson, Fredrika. "Det semiotiska i Pipilotti Rists Tyngdkraft, var min vän." Thesis, Södertörns högskola, Estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33427.
Full textAbstract:
Denna uppsats diskuterar Julia Kristevas begrepp det semiotiska i Pipilotti Rists audiovideoinstallation Tyngdkraft, var min vän, som visades på Magasin 3, Stockholm konsthall, 2007. Verket består av ett rum med upphöjda mattskulpturer där betraktaren kan ta av sig skorna och lägga sig ned för att ta del av två filmer som visas i taket ovanför matthögarna. Största delen av filmerna utspelar sig under vattenytan där en kvinna och en androgyn man utforskar ett universum fyllt av sinlighet, närvaro, lekfullhet, kropp, drifter och lugn -ett paradis fyllt av växtlighet och där tyngkraften ibland minskat. Bilder i starka färger och ljus, kaleidoskopiska formationer och ett till viss del uppbrutet bildspråk, möter åskådaren. Det semiotiska beskrivs av Kristeva som den driftsmässiga dimensionen av språket som är kopplat till ett förspråkligt stadium hos det preoidipala barnet innan det hunnit utvecklats till ett eget subjekt. Med detta menar hon den värld nära moderskroppen som barnet befinner sig i och där en icke-språklig kommunikation sker mellan mor och barn. Dock står denna värld inte helt utan lag och ordning eftersom modern (och barnet) alltid befinner sig under en viss språklig och kulturell lagbundenhet, kallad den symboliska ordningen, vilken kommer in även i det semiotiska. Det semiotiska och det symboliska är därför nära kopplade till varandra och kan inte existera utan varandra. Det semiotiska lever kvar även efter att det lilla barnet utvecklats till ett subjekt och trätt in i den språkliga, symboliska ordningen. Detta visar sig som semiotiska spår i bland annat konsten, och när det kommer till språket ser vi det främst i poesin, som är ett mindre lagbundet språk som rör sig i gränslandet mellan det semiotiska och det symboliska. Eftersom Tyngdkraft, var min vän inte innehåller något talat eller skrivet språk görs i uppsatsen en koppling mellan detta verk och det semiotiska genom utforskandet av olika element i verket. Dessa element är tyngdkraften, jorden, vattnet, bildspråket, upprepningen, rytmen, moderskroppen, paradiset, affekterna och drifterna samt gränslandet natur och kultur.
47
Sundström, Lisa. "En egen röst : En läsning av två ungdomsromaner av Joyce Carol Oates utifrån Julia Kristevas psykoanalytiska teorier." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169477.
Full textAbstract:
I denna uppsats kommer jag analysera flickskildringen i två ungdomsromaner, Freaky green eyes och Two or three things I forgot to tell you av Joyce Carol Oates. Romanernas flickor bär på pendlande känslor av begär och avsky både inför sig själva och sina föräldrar. Därför har Julia Kristevas teorier kring abjektion som förklarar dessa motstridiga känslor som en del av subjektets tillblivelse varit fruktsamma för min analys. Flickorna söker tillgång till språket och makten genom en identifikation med sina pappor och manliga värden samt ett bortstötande av sina mammor och allt som representerar det kvinnliga. Men för att må bra och kunna uttrycka sin egen sanning krävs ett omfamnande av mammorna och den egna kvinnligheten vilket när de tillslut fullbordas får flickorna att hitta inre harmoni och sin egen röst.
48
Boncardo, Robert Malcolm. "Appropriations politiques de l'oeuvre de Stéphane Mallarmé : Les cas de Sartre, de Tel Quel, de Badiou et de Rancière." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3015.
Full textAbstract:
L’objectif de cette thèse est d’étudier les appropriations politiques de l’œuvre de Stéphane Mallarmé. Nous explorerons comment on a pu faire de Mallarmé un objet de réflexion politique, tout en examinant les ressources conceptuelles dont on s’est servi pour donner aux écrits du poète une signification politique, ainsi que les différentes conjonctures, à la fois intellectuelle et politique, dans lesquelles ils ont pu jouer un rôle politique. Nous aborderons d’abord les travaux de Sartre, en étudiant le dialogue qu’il a entretenu avec Mallarmé tout au long de sa carrière. Nous expliquerons comment Mallarmé a pu être pour Sartre à la fois un membre d’un courant littéraire anti-démocratique et nihiliste et un héros existentialiste avant la lettre. Ensuite nous nous tournerons vers les premiers travaux de Julia Kristeva. En étudiant de près sa lecture de Mallarmé, nous montrerons pourquoi Mallarmé devait être pour les telqueliens à la fois un objet de réflexion privilégié et de critique. Dans notre troisième chapitre, nous examinerons la lecture de Mallarmé proposée par Alain Badiou en nous focalisant sur son premier livre, Théorie du sujet. Nous tâcherons aussi à cerner la signification de Mallarmé pour Badiou après la publication de son chef-d’œuvre, L’Etre et l’événement. Dans notre quatrième chapitre, nous nous tournerons vers les écrits de Jacques Rancière et proposerons une exégèse critique de sa lecture du poète. Nous clarifierons la signification politique que Rancière accorde à Mallarmé. Nous terminerons en examinant brièvement l’intervention récente dans cette histoire interprétative de Quentin MeillassouxThe aim of this thesis is to study the political appropriations of the work of Stéphane Mallarmé. We will explore how Mallarmé has been made an object of political reflection, as well as examining the conceptual resources used to give his writings a political significance, and the different conjunctures, at once political and intellectual, in which his writings have played a political role. We begin with the works of Sartre and study his dialogue with the poet, which lasted the entirety of his career. We will explain how Mallarmé could be, for Sartre, at once a member of an anti-democratic and nihilistic literary tendency and a proto-existentialist hero. Then we will turn to the early work of Julia Kristeva. By closely studying this reading, we will show why Mallarmé had to be for the Telquellians at once an object of privileged reflection and an object of critique. In our third chapter, we examine the reading of Mallarmé proposed by Alain Badiou, focusing on his first book, Théorie du Sujet. We will also attempt to determine the political signfication of Mallarmé for Badiou after the publication of his masterwork, L'Etre et l'événement. In our fourth chapter, we turn to the writings of Jacques Rancière and offer a critical exegesis of his reading of the poet. We will clarify the political signification that Rancière gives to Mallarmé. We will end by briefly examining the recent intervention into this interprétative history by Quentin Meillassoux
49
Mahmoudzadeh-Andwari, Amir. "The return of the abject : a psychoanalytic analysis of a selection of William Shakespeare's plays in the light of Julia Kristeva's theories of the mind." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/36152.
Full textAbstract:
The present research deals with the application of Julia Kristeva s psychoanalytic theories of the mind to a selection of William Shakespeare s plays. Kristeva s key psychoanalytic terms the symbolic, the semiotic and the abject are first elaborated in detail and are then applied to different situations and characters in the plays. The plays discussed in this thesis are A Midsummer Night s Dream, As You Like It and The Taming of the Shrew for the comedy section, Richard II, 1 & 2 Henry IV and Coriolanus for the English and Roman History section, and Romeo and Juliet, Macbeth and King Lear for the Tragedy section. The reason for choosing the above plays is that I believe there is a gap of knowledge in this regard and no thorough research on this scale has been conducted up to this time. The intention is to discuss and explicate the moments in which the dramatic heroes undergo some unconscious-driven experiences that can be best explained by Kristeva s post-Freudian psychoanalytic approach. In short, what I am going to show in the present study is the psychoanalytic assumption that Shakespearean characters, forced by internal or external elements, leave the symbolic and take refuge in the semiotic. In such moments, the characters inevitably face the abject which is an archaic memory comprising the elements of enchantment and horror. The abject can be best described as the archaic memories of a distant past when the self had no border and was associated with the semiotic, a subject s harmonious beginning. In its early childhood, to become a subject, an individual breaks its semiotic ties and, by so doing, enters the realm of the symbolic which is associated with grammar and law. The symbolic awards a subject a distinct identity and helps it stay on the route to signification. Kristeva s understanding of the process of individuation is explained by her subject in process , a journey in which a subject always oscillates between the symbolic and the semiotic. The key point in Kristeva s psychoanalytic thought is that the semiotic does not fade away and hovers around a subject s border of identity and remains a constant threat for its symbolic identity. To remain immune from the annihilating forces of the semiotic, a subject has to remain vigilant and protect its borders of identity. My main goal in this thesis is to show that, in some particular situations in the plays, Shakespearean characters fail to remain vigilant and, inevitably, their subjects are exposed to the abject. In other words, in moments of ambition, anger, love or fear, they surrender or take refuge in the semiotic and face the abject. Although Shakespearean plays have previously been approached by Sigmund Freud s (and some other major practitioners ) theories, the application of Kristeva s psychoanalytic theories of the mind gives the opportunity to approach the plays from a new perspective that would otherwise have remained unknown. Thus, the originality of this research lies in its extensive application of Kristeva s theories to the selected Shakespearean plays, theories that, although they derive from those of Freud, have the potential to shed light on those psychoanalytic aspects of the plays that Freud either neglected or left unfinished.
50
Ståhlberg, Gunilla. "Den kluvna identitetens språk : En tematisk och stilistisk komparation med postkolonialt och psykoanalytiskt perspektiv av Johannes Anyurus En storm kom från paradiset och Sami Saids Väldigt sällan fin." Thesis, Linköpings universitet, Avdelningen för svenska och litteratur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125359.
Full textAbstract:
Uppsatsen undersöker och jämför den tematiska och språkliga gestaltningen av den instabila identiteten i Johannes Anyurus roman En storm kom från paradiset och Sami Saids roman Väldigt sällan fin. De frågeställningar som behandlas är: Hur gestaltas den postkoloniala identitetens problematik i de båda romanerna? Hur tematiseras den instabila identiteten? Hur kan språket synliggöra en instabil identitet? För att undersöka den tematiska gestaltningen av det instabila subjektet utgår analysen från postkoloniala teorier vars grund finns i den poststrukturalistiska synen på verkligheten som en konstruktion styrd av makt och språk. Flera postkoloniala teoretiker utgår också från psykoanalytikern Jacques Lacans spegelteori i analysen av hur identiteten skapas i ett postkolonialt sammanhang. I diskussionen av det instabila subjektets språkliga gestaltning utgår uppsatsen från psykoanalytikern och litteraturvetaren Julia Kristevas teori om utanförskap som det poetiska språkets grund samt dess uttryck i vår tids skönlitteratur.