Relevant bibliographies by topics / Julia Kristeva

Academic literature on the topic 'Julia Kristeva'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Julia Kristeva"

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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Julia Kristeva"

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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.

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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.

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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.
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Smith, Anna Jean. "Reading Julia Kristeva: Estrangement and the female intellectual." Thesis, University of Canterbury. English, 1992. http://hdl.handle.net/10092/4692.

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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.
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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.

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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.
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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.

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Nous 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.
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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.

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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.

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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.

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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.

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Universidade 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.
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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.

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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.
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Books on the topic "Julia Kristeva"

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Julia Kristeva. New York: Routledge, 2004.

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McAfee, Noëlle. Julia Kristeva. New York: Routledge, 2004.

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Bouthors-Paillart, Catherine. Julia Kristeva. Paris: Association pour la diffusion de la pensée française, 2006.

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Julia Kristeva. Paris: AdpfCulturesfrance, 2006.

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Smith, Anna. Julia Kristeva. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1057/9780230372078.

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Lechte, John. Julia Kristeva. London: Routledge, 1990.

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Kelisiduowa: Julia Kristeva. Taibei Shi: Sheng zhi wen hua shi ye you xian gong si, 2002.

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Julia Kristeva (II). Santa Cruz, CA, USA: Reference and Research Services, 1995.

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Mitchell, Guberman Ross, ed. Julia Kristeva, interviews. New York: Columbia University Press, 1996.

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Lechte, John. Julia Kristeva: Live theory. London: Continuum, 2004.

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Book chapters on the topic "Julia Kristeva"

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Estelmann, Frank. "Julia Kristeva." In Kindler Kompakt Französische Literatur der Gegenwart, 94–96. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04498-3_10.

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Wild, Gerhard. "Kristeva, Julia." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4105-1.

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Schweitzer, Carol L. Schnabl. "Kristeva, Julia." In Encyclopedia of Psychology and Religion, 1332–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_380.

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Rinner, Fridrun. "Kristeva, Julia." In Lexikon der Geisteswissenschaften, 1256–59. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205790099.1256.

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Fotaki, Marianna. "Julia Kristeva." In Gender, Embodiment and Fluidity in Organization and Management, 42–58. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge focus on women writers in organization studies: Routledge, 2019. http://dx.doi.org/10.4324/9780429279706-4.

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Emerling, Jae. "Julia Kristeva." In Theory for Art History, 171–76. Second edition. | London; New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780203113899-22.

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Schweitzer, Carol L. Schnabl. "Kristeva, Julia." In Encyclopedia of Psychology and Religion, 1004–6. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_380.

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Ayten, Ali, Jeffrey B. Pettis, Ali Kose, Paul Larson, Tadd Ruetenik, Marta Green, Paul C. Cooper, Joenine E. Roberts, and Carol L. Schnabl Schweitzer. "Kristeva, Julia." In Encyclopedia of Psychology and Religion, 505–6. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_380.

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Mccance, Dawne. "Kristeva, Julia." In Encyclopedia of Contemporary Literary Theory, edited by Irena Makaryk, 394–96. Toronto: University of Toronto Press, 1993. http://dx.doi.org/10.3138/9781442674417-130.

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Smith, Anna. "Introduction." In Julia Kristeva, 3–10. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1057/9780230372078_1.

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Conference papers on the topic "Julia Kristeva"

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Petrilli, Susan, and Augusto Ponzio. "SEMANALYSIS AND LINGUISTICS IN JULIA KRISTEVA. LITERARY WRITING, DIALOGUE, STRANGENES." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-162.

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Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.

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Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.
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van Mechelen, Marga. "JULIA KRISTEVA’S SEMANALYSIS AND THE LEGACY OF ÉMILE BENVENISTE." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-161.

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