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Relevant bibliographies by topics / Semiotic chora

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Academic literature on the topic 'Semiotic chora'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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Journal articles on the topic "Semiotic chora"

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Shang, Dian. "Daoism Concepts in Kristevas Chora." Communications in Humanities Research 4, no. 1 (2023): 591–95. http://dx.doi.org/10.54254/2753-7064/4/20220885.

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Kristeva, in her publication Revolution In Poetic Language, refers to the concept of chora to reconstruct the demolition of emotionality and rationality in humankind. Chora is a space constituted of the Semiotic and the Symbolic for the preparation to generate humanity. I noticed that Kristevas chora functions not only in a semiotic way but also interpenetrates into the thoughts of Chinese Daoism. I believe this discovery is beneficial for us to understand Kristevas psychoanalysis in a different way with some cultural exchanges; in addition, we can come up with a new perspective on the traditi

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Hartnell, Laura. "Notes from the Semiotic Chora." Performance Research 25, no. 5 (2020): 4–9. http://dx.doi.org/10.1080/13528165.2020.1868831.

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Marti-Olivella, Jaume. "Death and Spring: Rodoreda's Semiotic Chora." Romance Quarterly 42, no. 3 (1995): 154–62. http://dx.doi.org/10.1080/08831157.1995.10545128.

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Halych, Valentyna. "Semiotic chora in social communicative discourse." Bulletin of Lviv Polytechnic National University. Series: Journalistic sciences 2017, no. 1 (2017): 97–105. http://dx.doi.org/10.23939/sjs2017.01.097.

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Cheema, Amna Umer. "Elizabeth Bishop and the Watery Discourse: The Semiotic Chora at play." Journal of English Language, Literature and Education 3, no. 02 (2021): 69–83. http://dx.doi.org/10.54692/jelle.2021.030294.

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This paper theorizes the use of water imagery in Elizabeth Bishop’s selected postmodern poetry namely, “The Map”, “The Imaginary Iceberg” and “The Man-Moth”. Speaking in the language of tears, lake, bay, river, strait, sea and ocean, Bishop personifies water for culture and its language. It is on this basis that Bishop comes close to the French psychoanalyst and linguist, Julia Kristeva’s concept of the semiotic chora. Kristeva calls it a space of maternal discourse, where the fluid realm of mother’s body called chora celebrates the fluidity of semiotic desires and expresses them through the s

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Watkin, William. "Indifferentiating the Undifferentiated in Kristeva’s Revolution in Poetic Language." Acta Nova Humanistica: A Journal of Humanities Published by New Bulgarian University 1, no. 1 (2024): 65–81. https://doi.org/10.33919/anhnbu.24.1.5.

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When Kristeva published her doctoral thesis La révolution du langage poétique in the early 1970s, its engagement with the philosophy of difference was groundbreaking. However, nearly fifty years later, the rise of indifferential systems of thought in continental philosophy, such as we find in Giorgio Agamben's archeology, Alain Badiou's ontology, set theory, and analytic extensionalism, means that, returning to Kristeva's foundational text, it can appear dated and impossible to recuperate for a twenty-first century philosophical situation. Yet central to Kristeva's work is the semiotic chora,

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Margaroni, Maria. "“The Lost Foundation”: Kristeva's Semiotic Chora and Its Ambiguous Legacy." Hypatia 20, no. 1 (2005): 78–98. http://dx.doi.org/10.1111/j.1527-2001.2005.tb00374.x.

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The aim of this essay is to reclaim Kristeva's concept of the semiotic chora by re-inscribing it as an intervention in the context of two important postmodern debates. The first debate relates to the philosophical problem of “the beginning before the Beginning.” The second concerns the necessity and possibility of mediation between incommensurable entities: the “demonic” and the social, desire and the Law, material production and representation. I contend: (1) that the introduction of the chora in RPL is part of Kristeva's effort to restore the legacy of a materialist economy of the beginning,

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Tamminen, Herman. "Body ground red – integrating Peirce, Kristeva and Greimas." Sign Systems Studies 48, no. 2-4 (2020): 368–91. http://dx.doi.org/10.12697/sss.2020.48.2-4.09.

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Ground (Charles Peirce’s concept) – regardless whether it be taken as motivation or abstractness – affords the proposition that some abstract categories of meaning have acquired their qualities via bodily experience. In order to show this to be the case, the concept of ground will be drawn together with the division (according to Julia Kristeva) between the symbolic and the semiotic, the semiotic chora will be shown to function as an axiologizing thymic category as regard reception of perception (following Algirdas Greimas), and finally it will be proposed that it is this foundation that enabl

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Nikolchina, Miglena. "Ontology, Biosemiotics, and Set Theory: New Turns in Kristevan Studies." Acta Nova Humanistica: A Journal of Humanities Published by New Bulgarian University 1, no. 1 (2024): 13–26. https://doi.org/10.33919/anhnbu.24.1.1.

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The papers collected in this volume were presented at the Eighth Meeting of the Kristeva circle, which took place in Julia Kristeva's country of origin, Bulgaria, at the New Bulgarian University in Sofia, in May 2022. The small local organizing committee included Kristian Bankov, semiotician and Secretary General of the International Association for Semiotic Studies (IASS/AIS), Albena Stambolova, a writer and psychoanalyst, and myself, my research focus being on the juncture of literature and philosophy. I mention our research areas in order to foreground our ambition to have the conference ad

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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 (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

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Dissertations / Theses on the topic "Semiotic chora"

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Jansdotter, Annika. ""In the Beginning Was the Word." The road towards a Speaking Subject in Jane Hamilton's The Book of Ruth." Thesis, Högskolan Dalarna, Engelska, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:du-495.

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Wing, Jennifer Mary. "Resisting the Vortex: Abjection in the Early Works of Herman Melville." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04192008-191516/.

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Thesis (Ph. D.)--Georgia State University, 2008.<br>Title from file title page. Robert Sattelmeyer, committee chair; Janet Gabler-Hover, Calvin Thomas, committee members. Electronic text (215 p.) : digital, PDF file. Description based on contents viewed June 10, 2008. Includes bibliographical references (p. 207-215).

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Shih, Hui-shan, and 施卉姍. "Semiotic and Chora: Virginia Woolf’s Mrs. Dalloway." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/45327742343745846696.

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碩士<br>淡江大學<br>英文學系碩士班<br>99<br>Abstract: This thesis centers on the studies on the semiotic and the symbolic. In Kristeva’s point of view, subject is a process and through it, one can get a complete subjectivity. The first chapter will emphasize Clarissa’s construction of her subjectivity by applying Julia Kristeva’s semiotic discourse. Julia Kristeva’s theory on the subject-in-process is clearly shown by Clarissa to represent how Clarissa develops her oscillated self and this is to show that her oscillation between the semiotic and the symbolic is a state of signifying process. To K

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Jhang, Jia-Li, and 張佳立. "The Semiotic Chora in Tsai Ming-Liang’s Works." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f9fk3w.

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碩士<br>國立臺北教育大學<br>語文與創作學系碩士班<br>105<br>The thesis will focus particularlly on how Tsai Ming Liang concentrated his personal history into art making instead of trying to put Tsai's into any kind of categories. I will discuss reasons why Tsai purposely left all the blanknesses in his camera movements and how he conveied his reminiscence in his images. There are lots of dancing fragments/ scenes in the works like The Hole and The Wayward Cloud owing to pay tributes to the old movie era Tsai involved in his own childhood. Due to the unique ways of shooting and all the above dancing scenes, I've ob

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Weng, Wei-Ming, and 翁偉銘. "Self, the Other and the Semiotic chora in A Portrait of the Artist as a Young Man and Ulysses." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/yuak8p.

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碩士<br>國立臺灣大學<br>外國語文學研究所<br>102<br>Abstract This thesis seeks to explore the semiotic traces in A Portrait of the Artist as a Young Man and Ulysses with the hope to map Joyce''s increasing tendency to embrace the unnamable semiotic, which is foregrounded not so much to threaten as to nourish an artist''s imagination. It is my hope to demonstrate the constant tensions between the Symbolic and the semiotic in Joyce''s texts. To borrow Kristeva''s words, I hope to show that in Joyce''s text "language and its rhythm [are] never one without the

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Books on the topic "Semiotic chora"

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Corona, Franco. La vergine vocale: Chora semiotica e stasi ossessive nella poesia di Edith Sitwell. Ets, 1986.

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Ockelford, Adam. Shape in music notation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0010.

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This chapter explores how perceptual domains function in the auditory and visual modalities, and sets out a model, using ‘zygonic’ theory, showing how different forms of mapping between the two may logically occur in cognition. Such mappings enable the perceived shapes of patterns in sound to be represented as two-dimensional visual shapes. Four types of inter-domain relationship are identified: ‘regular’, ‘irregular’ (the latter being ‘indirect’ or ‘arbitrary’) and ‘synaesthetic’. ‘Regular’, ‘indirect’ and ‘arbitrary’ representations are somewhat analogous to the threefold typology of signs d

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Book chapters on the topic "Semiotic chora"

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Crawford, Cair. "Black Holes: Engaging with Negation Through the Semiotic Chora." In Edusemiotics – A Handbook. Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-1495-6_18.

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"2. The Semiotic Chora Ordering the Drives." In Revolution in Poetic Language. Columbia University Press, 2024. http://dx.doi.org/10.7312/kris21459-005.

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Conklin, Darrell. "Chord sequence generation with semiotic patterns." In Machine Learning and Music Generation. Routledge, 2018. http://dx.doi.org/10.4324/9781351234542-2.

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Jones, Andrew. "Algorithmic and Human Analysts." In The Oxford Handbook of Music and Corpus Studies. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780190945442.013.37.

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Abstract The importation of algorithmic corpus analysis into music theoretical discourse brings both a new paradigmatic structure—new classes of claim, new kinds of proof deemed sufficient—and a renewed concern for epistemology. To many practitioners, computational analysis of a musical dataset can offer access to claims unreachable by more traditional methods. While human analysts might make careless mistakes—overlooking an accidental, mishearing the inner voices of a chord—algorithms make no such mistakes. These properties imply an unprecedented mode of truth access, one apparently dependent

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