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Journal articles on the topic 'Kristeva'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

Shaul, Dylan. "Kristeva vis-à-vis Hegel." Philosophy Today 65, no. 3 (2021): 673–90. http://dx.doi.org/10.5840/philtoday2021521413.

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This article reconstructs and compares Kristeva’s account of psychoanalytic interpretation as a practice of forgiveness with Hegel’s account of the origin of Absolute Knowing in the forgiveness constitutive of mutual recognition. An emphasis on homologies between the memory-work of Kristevan psychoanalysis and the recollective process of Hegelian Absolute Knowing elicits deeper affinities between Kristeva and Hegel than have previously been supposed. Both Kristevan and Hegelian forgiveness operate as the healing of an originary guilt, achieved through the verbal confession and examination of the confessor’s particular biographical and historical past, negating and raising up—sublating or sublimating—the contradictions of consciousness. Psychoanalysis and Absolute Knowing both enact in the present the reconciliation which religion perpetually defers to an unspecified future. While not replacing the institution of legal punishment, Kristevan and Hegelian forgiveness qua personal and social renewal and rebirth provide for the possibility of radical political transformation.

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2

Beardsworth, Sara. "Keeping it Intimate: A Meditation on the Power of Horror." Journal of French and Francophone Philosophy 21, no. 1 (May 31, 2013): 127–31. http://dx.doi.org/10.5195/jffp.2013.579.

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The paper is a reading of Julia Kristeva, The Severed Head. It first interprets a dual historical element in Kristeva's text on "capital visions," her selection of exemplars of the artistic representation of severed heads. On the one hand, there are the aesthetic trajectories themselves, from skull art to artistic modernism. On the other hand, there is an implicit history of "horror" in psychoanalysis in this text, going from Freud through Lacan to Kristeva. The paper then indicates the tone of possibility and invitation that inhabits Kristeva’s treatment of horror in capital visions, which suggests that she does not divide aesthetics off from ethics. Finally, I underline the note of humor that enters into the psychoanalytic and aesthetic treatment of horror, once Kristeva has linked it to the feminine.

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3

Yeung, Heather H. "Reading Kristeva with Kristeva." Studies in the Literary Imagination 47, no. 1 (2014): 111–27. http://dx.doi.org/10.1353/sli.2014.0017.

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4

Bové, Carol Mastrangelo. "Introduction: Kristeva and Race." Journal of French and Francophone Philosophy 26, no. 2 (December 7, 2018): 1–5. http://dx.doi.org/10.5195/jffp.2018.852.

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The Kristeva Circle Conference of 2017 in Pittsburgh confirmed that writers throughout the world have been engaging with Julia Kristeva’s thought in large numbers and in ways relevant to “an ethics of inclusion,” the topic of the Conference. The question of race arguably came to a head at the conference when one of the founders of the Kristeva Circle, Fanny Söderbäck, commented on the paper just delivered by Kristeva via Skype, “The Psychic Life--A Life in Time: Psychoanalysis and Culture.” According to Söderbäck, we run the risk of reinforcing Islamophobic views that equate terrorism with Islam if we focus on young women intent on jihad without simultaneously addressing the behavior of white men bent on white supremacist violence and terrorism. Kristeva did not directly address the issue of her lecture’s reinforcement of Islamophobic views in her response. Instead, she spoke at some length about a patient whose confrontation with Arabic poetry led to improvement in her psychic health. I introduce the following papers in part as a dialogue with Kristeva on race and as a response to Söderbäck’s comments. The essays all make reference to questions of race and ethnicity in Kristeva’s work. They do so in ways that provoke thought on the contributions of psychoanalytic writing, appreciated and also criticized for its universalizing tendencies, which may in part explain its vulnerability to charges of racism.

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5

Smith, Anne-Marie. "Françoise Collin/Julia Kristeva: Producing the Kristevan Text." Nottingham French Studies 42, no. 1 (March 2003): 61–66. http://dx.doi.org/10.3366/nfs.2003.006.

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6

Dohmen, Josh. "Disability as Abject: Kristeva, Disability, and Resistance." Hypatia 31, no. 4 (2016): 762–78. http://dx.doi.org/10.1111/hypa.12266.

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In this essay, I develop an account of disability exclusion that, though inspired by Julia Kristeva, diverges from her account in several important ways. I first offer a brief interpretation of Kristeva's essays “Liberty, Equality, Fraternity and … Vulnerability” and “A Tragedy and a Dream: Disability Revisited” and, using this interpretation, I assess certain criticisms of Kristeva's position made by Jan Grue in his “Rhetorics of Difference: Julia Kristeva and Disability.” I then argue that Kristeva's concept of abjection, especially as developed by Sara Ahmed and Tina Chanter, offers important insights into disability oppression; Ahmed's and Chanter's contributions improve upon Kristeva's account. Understanding disability as abject helps to explain both resistances to interacting with disabled others and ways to resist disability oppression. Finally, I argue that understanding disability as abject is preferable to recent deployments of Lacanian theory in disability studies and that this account is compatible with social models of disability.

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7

Rae, Gavin. "Maternal and paternal functions in the formation of subjectivity: Kristeva and Lacan." Philosophy & Social Criticism 46, no. 4 (June 20, 2019): 412–30. http://dx.doi.org/10.1177/0191453719856653.

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The Kristeva–Lacan relationship has been a difficult one, with commentators tending to either collapse the former into the latter or insist on an absolute division wherein Kristeva emphasizes the maternal function over Lacan’s privileging of the symbolic paternal law. In contrast, I argue that Kristeva’s actual position regarding Lacan and, by extension, the semiotic–symbolic relation is far more complicated than even her defenders often realize, before turning to the role(s) that the paternal function play(s) in Lacan’s analysis of the psyche’s movement into the symbolic to show that nevertheless Kristeva’s critique is based on a number of key misreadings regarding Lacan’s conception of (1) the paternal function, (2) the maternal–paternal relation and (3) the movement from the pre-symbolic to the symbolic. Rather than operating through a straightforward binary opposition between a maternal and a (privileged, repressive) paternal function, Lacan actually claims, in a similar vein to Kristeva, that the transmission of the symbolic law occurs through a complex and heterogeneous process wherein both the maternal and paternal functions are multiple and bound to and expressive of the other. This sheds light on the Kristeva–Lacan relationship, defends Lacan against the charge that he affirms a straightforward logic of patriarchy, identifies the multidimensionality inherent in both Kristeva’s and Lacan’s notions of the maternal and paternal functions and shows how the intertwinement of both functions aids the formation of subjectivity generally and the child’s symbolic acquisition specifically.

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8

Gambaudo, Sylvie. "Kristeva, Ethics and Intellectual Practice." Text Matters, no. 4 (November 25, 2014): 145–60. http://dx.doi.org/10.2478/texmat-2014-0010.

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The aim of this article is to revisit the work of the French philosopher Julia Kristeva and ask what place we might give her conceptual framework today. I will focus on one key aspect of Kristeva’s work, sexual difference, as that which ties most, if not all, aspects of Kristeva’s work. I am hoping to present a concise, yet wide-ranging view on Kristeva’s critical contribution to the fields of politics and ethics. My objective will be threefold. First, I will present the main lines of Kristeva’s theory on sexual difference; this presentation will also outline her political critique of equality and diversity in the domains of gender and sexuality. Kristeva believes that contemporary politics invested in suppressing inequality through the promotion of diversity will in the long term not only prove unsuccessful, but also create more exclusion. Secondly, I will point out the main objections raised against her theories and show how her critics come to their conclusions. Objectors to Kristeva’s sexual difference theory are mostly concerned with the manner in which she associates marginality and unintelligibility. They see little value in her theory, because, on the one hand, it relegates marginal groups to a world beyond social viability, and, on the other, because it effectively disables advancements in equality politics. Finally, I hope to provide the reader with a useful counter-critique to Kristeva’s detractors that will show why their views are partly founded on a misreading of her ethical (Freudian) framework and a desire to translate her work into a more pragmatic and user-friendly tool. I will argue that Kristeva’s work is best apprehended as a variant of psychoanalytic ethics and that to engage with its rhetoric is to capture the full weight of Kristeva’s contribution to politics and intellectual engagement.

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9

Miller, Elaine P. "Investing in a Third: Colonization, Religious Fundamentalism, and Adolescence." Journal of French and Francophone Philosophy 22, no. 2 (December 16, 2014): 36–45. http://dx.doi.org/10.5195/jffp.2014.652.

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In her keynote address to the Kristeva Circle 2014, Julia Kristeva argued that European Humanism dating from the French Revolution paradoxically paved the way for “those who use God for political ends” by promoting a completely and solely secular path to the political. As an unintended result of this movement this path has led, in the late 20th and early 21st centuries, to the development of a new form of nihilism that masks itself as revolutionary but in fact is the opposite, in Kristeva’s view. Kristeva analyzed the culture of religious fundamentalism as “adolescent” in the sense that the adolescent, in contrast to the child, is a believer rather than a questioner. Although the psychoanalytic consideration of religious fundamentalism added a new dimension to attempts to explain the increase of this phenomenon in the late 20th and 21st centuries, Kristeva’s subsequent linkage of fundamentalism to the revolts in French suburbs in 2005 and beyond fell short of an insightful critique by neglecting the historical context of France’s colonial history.

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10

Söderbäck, Fanny. "Timely Revolutions: On the Timelessness of the Unconscious." Journal of French and Francophone Philosophy 22, no. 2 (December 16, 2014): 46–55. http://dx.doi.org/10.5195/jffp.2014.653.

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Julia Kristeva’s work on the concept of revolt is marked by a temporal analysis that takes revolt to be a movement of return into the past that makes possible change, rebirth, and an open future. Such temporal revolt is, according to Kristeva, intimate, in that it touches on unconscious psychic structures and operates on the level of thought and creativity. But Kristeva simultaneously inherits Freud’s notion that the unconscious is timeless. How, I ask, can revolt be defined as a temporal movement of return while at the same time being rooted in timelessness? I examine both Freud’s and Kristeva’s discussions of the timelessness of the unconscious and suggest that it needs to be understood not as non-temporal or outside of time, but rather as a temporal structure that challenges traditional philosophical conceptions of time. As such, the timelessness of the unconscious is far from being yet another instantiation of metaphysical presence. Rather, I see it as offering a challenge to both metaphysical presence and linear time, and indeed as making possible the retrospective movement of return that revolt for Kristeva must be.

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11

Smith, Lauren, and Kelly Oliver. "Reading Kristeva." SubStance 23, no. 2 (1994): 132. http://dx.doi.org/10.2307/3685080.

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12

Oliver, Kelly. "Julia Kristeva." Journal of the British Society for Phenomenology 22, no. 3 (October 1991): 213–14. http://dx.doi.org/10.1080/00071773.1991.11879267.

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13

Roudiez, Leon S., and John Lechte. "Julia Kristeva." World Literature Today 65, no. 4 (1991): 670. http://dx.doi.org/10.2307/40147625.

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14

Cooper, Sarah. "Julia Kristeva." French Studies 60, no. 4 (January 1, 2006): 549–50. http://dx.doi.org/10.1093/fs/knl164.

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15

Sayers, Janet. "Interpreting Kristeva." Theory & Psychology 9, no. 4 (August 1999): 565–67. http://dx.doi.org/10.1177/0959354399094009.

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16

DeArmitt, Pleshette. "Julia Kristeva’s The Severed Head." Journal of French and Francophone Philosophy 21, no. 1 (May 31, 2013): 116–19. http://dx.doi.org/10.5195/jffp.2013.594.

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17

Kristeva, Julia. "Beauvoir and the Risks of Freedom." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 224–30. http://dx.doi.org/10.1632/pmla.2009.124.1.224.

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Julia Kristeva's recent interest in the work of Simone De Beauvoir stems from a concern to identify transformative possibilities in the “society of the spectacle”—a term Kristeva appropriates from Guy Debord to diagnose contemporary society's reduction of personal identity, sociality, and meaning to the status of mere representation. Over the last fifteen years, the spectacle constitutes one of the central notions employed by Kristeva to measure the significance of twentieth-century figures as diverse as Sigmund Freud, Marcel Proust, Jean-Paul Sartre, Louis Aragon, and Roland Barthes (discussed in The Sense and Non-sense of Revolt and Intimate Revolt), as well as the three women she addresses in her biographical trilogy on female genius—Hannah Arendt, Melanie Klein, and Sidonie-Gabrielle Colette. In 1996, in The Sense and Non-sense of Revolt, Kristeva promised to return to the work of Beauvoir in the light of her analyses of Sartrean revolt. The past several years have begun to fulfill that promise. In 2002 Kristeva dedicated the conclusion to her trilogy on female genius to Beauvoir, and in 2003 she presented a lecture entitled “Beauvoir présente,” subsequently included in La haine et le pardon in 2005. The essay published here was presented in January 2008 as the keynote lecture at a conference in celebration of Beauvoir's centenary, which was initiated by a committee from the University of Paris 7 chaired by Kristeva.

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18

Järvstad, Kristin. "Kristevas teorier i en återvändsgränd." Tidskrift för genusvetenskap 15, no. 1 (June 21, 2022): 56–64. http://dx.doi.org/10.55870/tgv.v15i1.4930.

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Julia Kristeva has been ver)' populär in the Scandinavian countries among feminist literary critics because of her subverting the essentialist definitions of woman by talking about 'the feminine', not as related to sex but as a linguistically and psychoanalytically founded term. But what is she actually saying about woman as a temporal and social being, the kind of being feminists are dealing with? And where in her theories floes the woman author fit in? In spite of woman's closeness to the semiotic and revolutionary aspects of language, due to her marginalized position in the phallocentric structure, she suffers from great difflculties, even psychically threatening ones according to Kristeva, when exploring this kind of language in her writing. The first article of some length which Kristeva has written about a female author cleai ly discloses an ambivalent stance: when discussing Duras she finds that Duras' language is not able to transcend her depressive melancholia in the way Dostoievski's is. On the whole, niale authors are able to use the semiotic aspects of language and tum it into an artistic ttiumph whereas women authors, like Virginia Woolf, Sylvia Plath and Maria Tsvetaeva, grapple with their mothers and thence are threatened by either madness or suicide. This is in accordance with Kristeva's view of the mother/- daughter-relationship where separation is all but impossible, whereas the little boy is taught to look upon himself as a distinct and separate being. According to Kristeva, woman is able to express herself mainly through her body, especially through her pregnancies, but this only leaves her where she was positioned long ago, as the sacred object of procreation. Kristeva is critical to feminism in many respects and therefore introduces an alternative of her own, namely tlie so called 'third generation' of feminism. As a solution to what she terms 'the war of the sexes' and the implacable difference that separates them. Kristeva proposes a deconstruction of the subject, down to its very nucleus, but in doing so removes ever\' trace of a politically and socially anchored feminism. The problem also is that the acomplishments of the former generations of feminism vanish. And what is the starting point of feminism once we have been told that the sexual differences belong to metaphysics, as Kristeva claims? After having left feminism with this ultimate deconstruction, there is hardly any possibilitiy of construction: the subversion of Kristeva's has been too thoroughgoing.

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19

Filipczak, Dorota. "Abjection and Sexually Specific Violence in Doris Lessing’s The Cleft." Text Matters, no. 4 (November 25, 2014): 161–72. http://dx.doi.org/10.2478/texmat-2014-0011.

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The article applies selected concepts from the writings of Julia Kristeva to the analysis of a novel by Doris Lessing entitled The Cleft. Published in 2007, The Cleft depicts the origin of sexual difference in the human species. Its emergence is fraught with anxiety and sexually specific violence, and invites comparison with the primal separation from the mother and the emancipation of the subject in process at the cost of relegating the maternal to the abject in the writings of Julia Kristeva. Lessing creates an ahistorical community of females (Clefts) from which the male community (Squirts) eventually evolves. The growing awareness of sexual difference dovetails with the emotional and intellectual development, as the nascent human subject gradually enters linear time viewed from perspective by the narrator of the novel, a Roman senator who hoards ancient manuscripts with the story of Clefts and Squirts. The article juxtaposes the ideas of Lessing and Kristeva, who have both cut themselves off from feminism, and have both been inspired by psychoanalysis. Primarily, Lessing’s fictional imaginary can be adequately interpreted in light of Kristeva’s concept of abjection as an element that disturbs the system. My interpretation of abjection is indebted to Pamela Sue Anderson’s reading of Kristeva, notably her contention that violence as a response to sexual difference lies at the heart of collective identity. Finally, the imaginary used by Lessing and Kristeva is shown to have stemmed from the colonial imaginary like the concepts of Freud and Jung.

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20

Fejtö, Kalyane. "Dostoïevski par Julia Kristeva, de Julia Kristeva." Revue française de psychanalyse Vol. 85, no. 1 (February 15, 2021): 255–60. http://dx.doi.org/10.3917/rfp.851.0255.

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21

Ekonen, Kirsti. "Kristeva before Kristeva: Gender and Creativity in Russian Symbolism." Studies in the Literary Imagination 47, no. 1 (2014): 149–66. http://dx.doi.org/10.1353/sli.2014.0003.

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22

Jasper, Alison. "Taking Sides on Severed Heads: Kristeva at the Louvre." Text Matters, no. 4 (November 25, 2014): 173–83. http://dx.doi.org/10.2478/texmat-2014-0012.

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The theorist and philosopher Julia Kristeva is invited to curate an exhibition at the Louvre in Paris as part of a series-Parti Pris (Taking Sides)- and to turn this into a book, The Severed Head: Capital Visions. The organiser, Régis Michel, wants something partisan, that will challenge people to think, and Kristeva delivers in response a collection of severed heads neatly summarising her critique of the whole of western culture! Three figures dominate, providing a key to making sense of the exhibition: Freud, Bataille, and the maternal body. Using these figures, familiar from across the breadth of her work over the last half a century, she produces a witty analysis of western culture’s persistent privileging of disembodied masculine rationality; the head, ironically phallic, ironically and yet necessarily severed; the maternal body continually arousing a “jubilant anxiety” (Kristeva, Severed Head 34), expressed through violence. Points of critique are raised in relation to Kristeva’s normative tendencies-could we not tell a different story about women, for example? The cultural context of the exhibition is also addressed: who are the intended viewers/readers and whose interests are being served here? Ultimately, however, this is a celebration of Kristeva’s tribute to psychic survivors.

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23

Oliver, Kelly. "Kristeva's Reformation." Journal of French and Francophone Philosophy 22, no. 2 (December 16, 2014): 20–25. http://dx.doi.org/10.5195/jffp.2014.651.

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In my brief remarks, I consider what it means to return and rebind—that is to say, the significance of the re for Kristeva’s thought. Kristeva does not just talk about binding or birth, or unbinding or death, but rather rebinding and rebirth, suggesting that it is a retrospective return rather than an original moment that is crucial. The most significant moment, then, is not the moment of imaginary plenitude, nor the moment of originary loss, but rather the moment of rebirth that comes through rebinding after the loss of plenitude. Indeed, Kristeva’s insistence on re-turning suggests that there is no originary moment of plenitude nor of castration or loss, but rather a constant movement of compensation for a recurrent loss. By emphasizing rebinding and rebirth, she underscores not the loss as cutting wound but rather the healing power of signification, always already inherent within loss. The flip-side of separation is reattachment. And rather than just focus on the separation or cut, Kristeva looks to that which allows us to rebind and reattach in order to create relations that sustain us. Both unbinding and binding are necessary for rebinding. Thus, by focusing on rebinding, Kristeva insists on the process of unbinding and binding, and the oscillation between them.

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24

Hawthorne, Sîan. "An Outlaw Ethics for the Study of Religions: Maternality and the Dialogic Subject in Julia Kristeva’s “Stabat Mater”." Culture and Dialogue 3, no. 1 (June 14, 2015): 127–51. http://dx.doi.org/10.1163/24683949-00301010.

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In this essay I examine Julia Kristeva’s transgressive body of work as a strategic embodiment of, and argument for, an ethical orientation towards otherness predicated on the image of divided subjectivity identified by Jacques Lacan but powerfully re-theorised as dialogic by Kristeva. I focus on what is, for Kristeva, a stylistically unique essay – “Stabat Mater” – which examines a number of institutional discourses about motherhood from the western philosophical, religious, and psychoanalytical traditions, and simultaneously subverts them with a parallel discourse (and enactment) ostensibly by an actual mother. The text itself, I argue, can be read as a performance of dialogic subjectivity and of Kristeva’s conception of maternality, which implies a radical ethical imperative – termed “herethics” – towards alterity. I propose that this herethical model might heuristically inform current debates regarding the ethical orientations of the study of religions as an academic field.

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25

Noland, Carrie. "Phonic Matters: French Sound Poetry, Julia Kristeva, and Bernard Heidsieck." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 108–27. http://dx.doi.org/10.1632/003081205x36895.

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This essay recounts my attempt to teach poetry through theory and theory through poetry by juxtaposing Bernard Heidsieck's sound poem Canal Street with Julia Kristeva's La révolution du langage poétique. The psychoanalytic model Kristeva applies to her exegesis of Mallarmé's “Prose” proves insufficient to account for Heidsieck's materialist poetics. However, by reading Kristeva beside Heidsieck, we can gain a glimpse of the resources held in reserve by both texts. Kristeva's attention to poetry's phonematic material facilitates a sound-sensitive approach to Heidsieck's poem. Heidsieck's poem, in turn, suggests that such material reveals not the libidinal drives of a subject but the nonlibidinal, impersonal, acoustico-physiological instrument undergirding the expressive potential of the human voice. The juxtaposition of theoretical and poetic texts demonstrates that poetry possesses an analytic force that can be applied to the theory meant to explicate it.

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26

Oliver, Kelly. "Julia Kristeva's Feminist Revolutions." Hypatia 8, no. 3 (1993): 94–114. http://dx.doi.org/10.1111/j.1527-2001.1993.tb00038.x.

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Julia Kristeva is known as rejecting feminism, nonetheless her work is useful for feminist theory. I reconsider Kristeva's rejection of feminism and her theories of difference, identity, and maternity, elaborating on Kristeva's contributions to debates over the necessity of identity politics, indicating how Kristeva's theory suggests the cause of and possible solutions to women's oppression in Western culture, and, using Kristeva's theory, setting up a framework for a feminist rethinking of politics and ethics.

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27

Day-MacLeod, Deirdre. "Kristeva in focus." Norsk medietidsskrift 2, no. 02 (October 1, 1995): 165–68. http://dx.doi.org/10.18261/issn0805-9535-1995-02-17.

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28

McAfee, Noelle, and Ross Mitchell Guberman. "Julia Kristeva Interviews." South Central Review 15, no. 3/4 (1998): 89. http://dx.doi.org/10.2307/3189854.

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29

Baruchello, Giorgio. "The Portable Kristeva." Symposium 5, no. 1 (2001): 120–23. http://dx.doi.org/10.5840/symposium20015126.

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30

Alhadeff, Cara Judea. "Kristeva and Bataille." Philosophy Today 56, no. 2 (2012): 198–210. http://dx.doi.org/10.5840/philtoday201256238.

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31

Gilbert, Gary Paul. "Kristeva and Derrida." PMLA/Publications of the Modern Language Association of America 117, no. 5 (October 2002): 1231–32. http://dx.doi.org/10.1632/s0030812900106650.

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32

Bielecki, Marian. "Trzy opowieści o Obcym. Kristeva, Gombrowicz, Pankowski." Kształcenie Językowe 16 (October 8, 2018): 45–56. http://dx.doi.org/10.19195/1642-5782.16(26).4.

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Three stories about the Stranger. Kristeva, Gombrowicz, Pankowski The article deals with the links between strangeness, otherness and foreignness. Julia Kristeva’s book Strangers to Ourselves provides a theoretical context for an interpretation of two novels: Trans-Atlantyk by Witold Gombrowicz and A Visitor by Marian Pankowski. Both the Bulgarian-French theorist and the two Polish writers demonstrate various links of the category of strangeness and its derivatives and the identity discourse. The traditional notion of identity turns out to have oppressive consequences, because despite its apparent neutrality it is defined through a judgemental reference to its contradiction: non-identity as well as otherness. Kristeva, Gombrowicz and Pankowski propose alternative forms of identity which are — like the identity of a foreigner — open, heterogenous and open to difference.

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33

Hansen, Sarah K. "Pedagogies of Revolt, Politics of the Self." Journal of French and Francophone Philosophy 22, no. 2 (December 16, 2014): 56–61. http://dx.doi.org/10.5195/jffp.2014.654.

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In "New Forms of Revolt," Julia Kristeva maintains that intimate revolt is a necessary, if imperiled, mode of contemporary resistance. This essay reflects on the pedagogical dimensions of intimate revolt and its fate in university contexts, especially in the United States. I argue that a Kristevan pedagogical revolt involves upheavals of thought supported by loving listening relationships.

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34

Jianguang, Sun, Zahra Sharbaf Kashani, and Farzaneh Haratyan. "Manifestation of Kristeva’s Theory of Abjection and Thetic Break in Sam Shepard’s The Buried Child." European Journal of English Language and Literature Studies 11, no. 1 (February 15, 2023): 37–48. http://dx.doi.org/10.37745/ejells.2013/vol11n13748.

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This study probes Kristeva’s theory of abjection, thetic break, the semiotics, and the symbolic in the play The Buried Child written by Sam Shepherd. The image of metamophorasized mother refers to any types of objects which are the transformed version of the mother. In other words, the image of mother is substituted and replaced during thetic break which functions as a threshold between two realms of the semiotic and the symbolic as a break between the signifier and the signified. Kristeva believes that the thetic break is a precondition for entering the symbolic chora and the possibilities of the first enunciation where the subject realizes that his own subjectivity faces boundary and limitation with others. This basic problem is elaborated in this selected play and discussed through Kristevean reading.

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35

Justaert, Kristien. "Subjects in Love." Studia Phaenomenologica 9, no. 9999 (2009): 269–81. http://dx.doi.org/10.5840/studphaen20099special51.

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In this article I contend that although Michel Henry reproaches psychoanalysis to let the symbolic law rule over the unconscious, his concept of auto-affection as a direct experience of Life comes close to psychoanalyst Julia Kristeva’s idea of eros, in that they both turn away from representational logic in their search for “true”, unmediated forms of subjectivity. In her development of the concept of eros or narcissism, Kristeva is strongly inspired by the Plotinus. In his striving for unification with the One, man idealizes and identifies with the One. Kristeva replaces this idealizing love inside man’s psyche and thus defines the narcissistic structure as an identification with something that is not yet the subject itself. This process takes place in a non-representational domain, in what can be called the “consciousness of the flesh”. However, although the existence of a “bodily” consciousness is the condition of possibility for intersubjective love, not everything is simply absorbed by this consciousness of the flesh: both Kristeva and Plotinus draw upon a kind of dualism between representational and non-representational, maybe not in the experience, but in their explanation of love.

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36

Morgan, Marcia. "The Affect of Dissident Language and Aesthetic Emancipation at the Margins: A Possible Dialogue between Theodor W. Adorno and Julia Kristeva." Journal of French and Francophone Philosophy 24, no. 1 (October 12, 2016): 167–91. http://dx.doi.org/10.5195/jffp.2016.716.

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In this paper I focus on the interaction between affect and language as articulated in the works of Theodor W. Adorno and Julia Kristeva, sometimes in inchoate and non-explicit ways. Language is always in transit, exile, and dispossession. All language is the language of another, or the other, and precisely because of this, it is the site of dissenting and conflicting affect. In this context, my paper traces a missed but necessary dialogue between Adorno and Kristeva. Adorno’s diagnosis of failed subjective inwardness, first presented in his book on Kierkegaard, was sustained throughout Adorno’s entire oeuvre, to the very end, in his posthumous 1969 Aesthetic Theory. I will explicate Adorno’s forced collapsing of subjective interiority into a negative space that opens up aesthetic emancipatory potential. In what follows I place Adorno’s negativity of subjective inwardness and the aesthetic potential after the fact of its destruction in dialogue with the writings of Kristeva, who has likewise diagnosed a subjective interiority of negativity but framed the latter in terms of the female, abjection and maternity. I conclude by placing Kristeva’s work in conversation with Adorno’s philosophy of the language of music, as one example of their shared framework for aesthetic emancipatory experience.

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Braconnier, Alain. "Entretien avec Julia Kristeva." Le Carnet PSY 110, no. 6 (2006): 40. http://dx.doi.org/10.3917/lcp.110.0040.

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Gagey, Henri-Jérôme. "Réponse à Julia Kristeva." Transversalités 110, no. 2 (2009): 91. http://dx.doi.org/10.3917/trans.110.0091.

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Widlöcher, Daniel. "Dialogue avec Julia Kristeva." Revue française de psychanalyse 71, no. 5 (2007): 1503. http://dx.doi.org/10.3917/rfp.715.1503.

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Poizat, Denis. "Entretien avec Julia Kristeva." Reliance 20, no. 2 (2006): 8. http://dx.doi.org/10.3917/reli.020.08.

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Keenan, Dennis King. "Kristeva, Mimesis, and Sacrifice." Philosophy Today 47, no. 1 (2003): 23–33. http://dx.doi.org/10.5840/philtoday200347151.

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Pollock, Professor Griselda. "Dialogue with Julia Kristeva." Parallax 4, no. 3 (July 1998): 5–16. http://dx.doi.org/10.1080/135346498250082.

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Penrod, Lynn. "Colette by Julia Kristeva." Women in French Studies 14, no. 1 (2006): 159–60. http://dx.doi.org/10.1353/wfs.2006.0010.

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Litowitz, Bonnie E. "Introduction to Julia Kristeva." Journal of the American Psychoanalytic Association 62, no. 1 (February 2014): 57–59. http://dx.doi.org/10.1177/0003065113520040.

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Miller, Elaine P. "Art, Mysticism, and the Other: Kristeva’s Adel and Teresa." Journal of French and Francophone Philosophy 26, no. 2 (December 7, 2018): 43–55. http://dx.doi.org/10.5195/jffp.2018.857.

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Kristeva's Teresa My Love concerns the life and thought of a 16th century Spanish mystic, written in the form of a novel. Yet the theme of another kind of foreigner, equally exotic but this time threatening, pops up unexpectedly and disappears several times during the course of the novel. At the very beginning of the story, the 21st century narrator, psychoanalyst Sylvia Leclerque, encounters a young woman in a headscarf, whom Kristeva describes as an IT engineer, who speaks out, explaining that "she and her God were one and that the veil was the immovable sign of this 'union,' which she wished to publicize in order to definitively 'fix it' in herself and in the eyes of others." In this paper I ask what difference Kristeva discerns between these two women, a distinction that apparently makes Teresa's immanence simultaneously a transcendence, but transforms a Muslim woman in a headscarf immediately into an imagined suicide bomber. Despite the problematic aspects of this comparison, we can learn something from them about Kristeva's ideas on mysticism and on art. Both mysticism and art are products of the death drive, but whereas the suicide bomber and the animal directly and purely pursue death (again, on Kristeva's view) Teresa and Adel remain on its outer edge and merely play with mortality.

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Cavanagh, Clare. "Pseudo-revolution in Poetic Language: Julia Kristeva and the Russian Avant-garde." Slavic Review 52, no. 2 (1993): 283–97. http://dx.doi.org/10.2307/2499923.

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It is important to stress that these peculiar pseudo-revolutions, imported from Russia and carried out under the protection of the army and the police, were full of authentic revolutionary psychology and their adherents experienced them with grand pathos, enthusiasm, and eschatological faith in an absolutely new world. Poets found themselves on the proscenium for the last time. They thought they were playing their customary part in the glorious European drama and had no inkling that the theatre manager had changed the program at the last minute and substituted a trivial farce.–Milan Kundera, Life Is Elsewhere (1969)In the preface to her 1980 collection Desire in Language, Julia Kristeva acknowledged her ongoing debt to the pioneering linguistic theories of Roman Jakobson, a scholar who, in her phrase, "reached one of the high points of language learning in this century by never losing sight of Russian futurism's scorching odyssey through a revolution that ended up strangling it." Kristeva's statement takes us in two directions at once, both of which I will explore in this essay: it draws attention to Jakobson's sustaining roots in the avant-garde experimentation in poetic language that flourished in Russia in the early part of this century; and it tacitly underscores Kristeva's own ties to Russian avantgarde theory and practice. For Jakobson, Kristeva has suggested, the brief, febrile period of artistic experimentation that Marjorie Perloff has called "the futurist moment" continued to inform his writing in vital ways long after its unnatural death at the hands of the Soviet state. Certainly Jakobson, like Kristeva, is preoccupied throughout his work— from his exploration of Khlebnikov's "transsense" in "Recent Russian Poetry" to his 1980 study of Holderlin's schizophrenia—with the relationship between abnormal or "trans-normal" language and poetic language that lay at the heart of formalist theory and futurist practice in early twentieth century Russia.

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Barsht, Konstantin A. "The return of poetics. Julia Kristeva vs Mikhail Bakhtin." Vestnik of Saint Petersburg University. Language and Literature 18, no. 2 (2021): 242–61. http://dx.doi.org/10.21638/spbu09.2021.201.

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The article offers an analysis of the concept of “intertext” that has been put forward by Julia Kristeva in her work “The Destruction of Poetics” in comparison with Mikhail Bakhtin’s idea of a universal context and “infinite dialogue”. It is concluded that Kristeva incorrectly perceived Bakhtin’s thoughts about context and dialogue, which are personalistic in nature in contrast to Kristeva’s impersonal one based on the Freudian-driven “It” and social factors of the “intertext”. The article analyzes the theoretical basis of this concept, including the crisis in literary theory in the 1970s–1980s where there was frustration by the European and Russian scientific community in the universalism of binary oppositions. In this regard, the issue of overcoming the theoretical difficulties of literary aesthetics with the help of the ternary model of aesthetic communication (“metalinguistics”), which was developed by Bakhtin in his works since the 1930s and was not heeded by Kristeva, has not yet been mastered in modern philological science. This concept is based on the idea of aesthetics as metaethics, which is built up in the process of textual communication over simple binary ethical exchange. The article suggests that the use of this idea of a ternary (metalinguistic) construction of the communicative field of a literary work can significantly advance the solution of many problems in theoretical poetics, in particular, reveal new ways for linking the discursive-textual and axiological fields of a literary-fiction text into one whole.

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Hansen, Sarah K. "Julia Kristeva and the Politics of Life." Journal of French and Francophone Philosophy 21, no. 1 (May 31, 2013): 27–42. http://dx.doi.org/10.5195/jffp.2013.572.

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In her recent writings on the powers and limits of psychoanalysis, Julia Kristeva develops a theory of power and subjectivity that engages implicitly, if not explicitly, with biopolitical themes. Exploring these engagements, this paper draws on Kristeva to discuss the mute symptoms of homo sacer and the regulatory power of the spectacle. Staging an uncommon (and sometimes antagonistic) conversation between Kristeva, Agamben, and Foucault, I construct a field of inquiry that I term the “psychic life of biopolitics.”

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Belatèche, Lydia. "L’horloge enchantée par Julia Kristeva." French Review 89, no. 3 (2016): 270. http://dx.doi.org/10.1353/tfr.2016.0380.

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Best, Victoria, and Anne-Marie Smith. "Julia Kristeva: Speaking the Unspeakable." Modern Language Review 96, no. 1 (January 2001): 206. http://dx.doi.org/10.2307/3735781.

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