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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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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.
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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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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.
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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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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.
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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
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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.
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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?
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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.
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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.
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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.
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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
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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.
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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/.
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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.
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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/.
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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.
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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.
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Convento, Elisabetta. "Il "génie féminin" o la disseminazione del sé : Kristeva e Colette." Paris 8, 2005. http://www.theses.fr/2005PA082527.
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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
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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.
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Taylor, Anne. "An Amorous Ethics: Virtue and Vice in Contemporary Art." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/367308.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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/.
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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.
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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.
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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 ).
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Tolis, Sofia. "Allt som kommer emellan mig och skrivandet dödar jag : Melankoli i språket i Mare Kandres Bubins unge." Thesis, Södertörn University College, School of Gender, Culture and History, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-915.
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The purpose of this essay is to investigate the melancholic, poetic language in Bübins unge (Bübin´s brat) by Mare Kandre (1962 – 2005). In my opinion the novel, which is about a teenage ritual, also gives an imaginary arena for archaic and unmentionable experiences of the libido. It is therefore a witness to the truth of the subjects complex mind. To my assistance I have Julia Kristeva´s theory on the abjection, the successful melancholia and her concepts of the outsider and the catharsis. The method I use in my investigation is an interpretation, which is both an analytic and a hermeneutic process, i.e. a deconstructive, analytic operation based on a theory on the language and the subject and a construing, hermeneutic movement. In my pursuit I investigate structures, which make the intermittent fragmented language readable and coherent. From this point of view I study words and effects (sensations) that relate to the contrast semiotic-symbolic in Bübins unge, and disentangle energy of the affect.
Mare Kandre, Bübins unge (1987). Julia Kristeva, Pouvoirs de l´horreur (1980) and Soleil noir (1987).
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Beck-Remnes, Alice. "Den formlösa kroppen – En väg ut : Kropp, rum och språk i Stina Aronsons Feberboken." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-189982.
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Ericson, Nathalie. "Menskonst : En studie om begreppet menskonst och temat mens i konsten." Thesis, Karlstads universitet, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84607.
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This academic paper examines the menstrual art that is seen as provocative in the contemporary art debate in Sweden. The paper problematizes menstrual art as a concept. Moreover, it critically examines how the concept of menstrual art has been received by politicians, art theorists and journalists. The ideas and artistic expressions in menstrual art have been analyzed using Kristeva’s psychoanalytic theory on abjection and Wasshedes verbalized form abjectification. As well as how the distinction between purity and dirt can be examined by using the ideas found in menstrual art. How do artists challenge prevailing societal structures and norms by creating menstrual art? Which ideas does the concept of menstrual art include? How did the concept of menstrual art become a controversial word in the contemporary debate in Sweden?
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Balt, Christine. ""A dark revolt of being" : abjection, sacrifice and the real in performance art, with reference to the works of Peter van Heerden and Steven Cohen /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1688/.
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Woods, Katherine. "Witchcraft plays 1587-1635 : a psychoanalytical approach." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12317.
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This thesis comprises detailed readings of nine early-modern plays featuring female witches in an attempt to recover an understanding of how they were represented on the early-modern stage and what they meant to their first audiences. Drawing on twentieth-century theories of subjectivity, it offers an avenue for the explanation of moments of misogyny in the plays and identifies an unconscious communal anxiety which was revealed and perpetuated by the stage representation of the witch. Although we cannot fully recapture the experience of an audience of 400 years ago, this study attempts to do so in order to place the plays in the context of anxieties detectable in the period. By reading the plays in reference to theatrical conditions, this thesis identifies moments when the drama enlisted the subjectivity of the audience and the witch was constructed as uncanny. Such an approach contributes to the debate on the ages of actors performing certain female characters and suggests potential staging approaches for future performances.
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Boncardo, Robert Malcolm. "Appropriations Politiques de l’Œuvre de Stéphane Mallarmé: Les Cas de Sartre, de Tel Quel, de Badiou et de Rancière." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13836.
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The aim of this thesis is to investigate the various political appropriations of the work of the late-19th century poet Stéphane Mallarmé in 20th century French thought. Our specific focus will be on the writings of Jean-Paul Sartre, the key collaborator of the journal Tel Quel Julia Kristeva, Alain Badiou, and Jacques Rancière. The key concerns of the thesis are to determine how Mallarmé has been constituted as an object of specifically political reflection; what conceptual resources have enabled his writings to be construed as politically significant; and finally in what precise conjunctures, both intellectual and political, his work has been mobilized by the four above-mentioned French intellectuals. Beginning with the work of Sartre, we will explore his career-long dialogue with Mallarmé and seek to clarify the various and, in our view, incompatible estimations he made of the poet’s political significance. In so doing, we will show what it means for Sartre to have at once condemned Mallarmé as an exemplary member of an anti-democratic and nihilistic literary current and to have celebrated him as a proto-existentialist. Next, we turn to the exemplary and sophisticated expression of the journal Tel Quel’s literary theory as presented in the thought of Julia Kristeva and her two key early works, Sèméiôtiké and La Révolution du langage poétique. Exploring in detail her engagement with Mallarmé throughout these two works, we will demonstrate why Mallarmé had to be for the Telquellians at once a privileged point of reference and an object of critique. In our third chapter, we will examine Alain Badiou’s reading of Mallarmé, with a focus on his early work Théorie du sujet and its engagement with Mallarmé during a period of fragility and fatigue for Badiou’s Maoist political and philosophical program. We will also determine the political significance of Mallarmé for Badiou after the publication of his masterwork, L’Etre et l’événement. Finally, in our fourth chapter, we turn to the writings of Jacques Rancière and offer a critical exegesis of his reading of Mallarmé, which he makes on the basis of a revisionist account of artistic modernity. We will show what precise political signification Rancière accords to Mallarmé, as well as how he revises the entire tradition of political appropriations of the poet. We will close with some brief considerations of Quentin Meillassoux’s recent intervention, which opens up again the question of Mallarmé’s political significance.
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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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Stokes-King, Lisa. ""Lovely shapes and sounds intelligible" : Kristevan semiotic and Coleridge's language of the unconscious." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99394.
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Romantic literature's preoccupation with subjectivity, and the nature of the self, is recognised as influential on modern conceptions of consciousness, and in particular as a precursor of psychoanalysis. This thesis examines Coleridge's understanding of consciousness, as expressed in his prose, to demonstrate that he theorised a language of the unconscious; a non-arbitrary, authentic language that remains inaccessible. By comparing this idea with Julia Kristeva's theory of Semiotic language, the thesis will show that this language is indeed recognised in her psychoanalytic theory as a product of the unconscious. Most importantly, it will show that while Coleridge's supernatural poetry laments the inaccessibility of unconscious language, Kristevan theory demonstrates it to be present in that very poetry.
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De, Renzo-Huter Lauretta. "Maternity and matricide in the works of Carlo Emilio Gadda : a Kristevan approach /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018360.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 202-212). Also available for download via the World Wide Web; free to University of Oregon users.
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Bustamante, Ortiz Andrés. "La ironía como elemento de crítica al estudio semiótico de Julia Kristeva en el poema “Sobre la ironía de la semiología” de Jorge Enrique Adoum." Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2017. http://hdl.handle.net/20.500.11799/68134.
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La ironía como elemento de crítica al estudio semiótico de Julia Kristeva en el poema “Sobre la inutilidad de la semiología” de Jorge Enrique Adoum
Análisis e interpretación del poema “Sobre la inutilidad de la semiología” de Jorge Enrique Adoum, en el que se explica cómo la ironía funciona como elemento de crítica al estudio semiótico de Julia Kristeva
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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.
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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
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Joakim, Bengtsson. "From within the Abyss of the Mind : Psychological Horror in H. P. Lovecraft’s “The Call of Cthulhu”." Thesis, Blekinge Tekniska Högskola, Institutionen för humaniora, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1596.
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ABSTRACT An attempt to put the horror writer H. P. Lovecraft on the map of psychoanalytical criticism, this analysis examines Lovecraft’s use of setting, characters, and narrative mode and structure in “The Call of Cthulhu” (1926) to show how his construction of horror has its ground in psychology, or, more specifically, in ideas of identity and violated boundaries of the self. In addition, brief reflections on Modernist art, its connections with psychoanalysis, and its analogies to Lovecraftian imagery are provided in order to show the echoes of the Zeitgeist in Lovecraft’s horrors. Although Lovecraft made claims for the universality of the horror he depicted, the present analysis also maps its specific and time-bound characteristics.e-mail: lordlabil@hotmail.com
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Collins, Heidi. "Post May '68 French theatre by women: the play of language and emotion." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6928.
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In the period following the May 1968 protests, French women began to create theatre that highlighted women’s struggles. This study explores the dual influence of Antonin Artaud and Bertolt Brecht on plays by Hélène Cixous, Simone Benmussa, and the Théâtre du Soleil led by Ariane Mnouchkine. Artaud argued that theatre should become a transformative experience through an explosion of sensory stimuli: music, light, noise, and imagery. Conversely, Brecht wanted to use theatre to revolutionize society and theorized that by maintaining historical and emotional distance between the audience and the play, spectators would be encouraged to think critically about the its significance and be compelled to action.
The female playwrights and directors studied created powerful theatre by combining these ideas in a manner mimicking Julia Kristeva’s notion of subject formation. Kristeva proposes that the human subject is never stable. Instead, it oscillates between the non-discursive, emotion-filled state she labels the semiotic and the more language- and logic-propelled symbolic register. These two realms are in constant tension as the semiotic disrupts the logic of the symbolic and in turn, the symbolic strives to regulate the semiotic impulses.
In this study, I argue that the ideas of Artaud are aligned with the semiotic while those of Brecht resemble the symbolic. In the plays examined, the non-linguistic elements of the design and mise-en-scène engage with the didactic aims of the playwrights and directors, causing the spectator to connect emotionally with the story while simultaneously reflecting on its real-world signification.
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Bongers, Christine Mary. "Blue Horses and Illuminating the Shadow : a novel manuscript and exegesis." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18312/2/Christine_Mary_Bongers_-_Exegesis.pdf.
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The novel manuscript Blue Horses (published as Dust, by Random House Australia under its Woolshed Press Imprint, July 2009) focuses on a dusty corner of 1970’s Queensland in this evocative tale of family, shadows that hang over from childhood and beauty found in unexpected places. Its protagonist, Cecilia Maria, was named after saints and martyrs to give her something to live up to. “Over my dead body,” she vows. Her battles with a six-pack of brothers and the despised Kapernicke girls from the farm next door teach her an unforgettable lesson that echoes down through the years. Now she’s heading back to where it all began, with teenagers Jed and Jenna reluctantly in tow. She plans to dance on a grave and track down some ghosts. Instead she learns a new lesson at the gravesite of an old enemy.
The exegesis examines Jung’s concept of the Shadow Archetype as a catalyst for individuation in writing for young adults. It discusses the need to re-vision Jung’s work within a feminist framework and contrasts it to Julia Kristeva’s work on the abject. Alyssa Brugman’s Walking Naked and Sonya Hartnett’s Sleeping Dogs are analysed in relation to these concepts and lead into my own creative reflections on, and justification for, use of the Shadow conceptual framework. In following my shadow and establishing a creative dialogue between my conscious intent and unconscious inspirations, I have discovered a writing self that is “other” to the professional writer persona of my past.
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Bongers, Christine Mary. "Blue Horses and Illuminating the Shadow : a novel manuscript and exegesis." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18312/.
Full textAbstract:
The novel manuscript Blue Horses (published as Dust, by Random House Australia under its Woolshed Press Imprint, July 2009) focuses on a dusty corner of 1970’s Queensland in this evocative tale of family, shadows that hang over from childhood and beauty found in unexpected places. Its protagonist, Cecilia Maria, was named after saints and martyrs to give her something to live up to. “Over my dead body,” she vows. Her battles with a six-pack of brothers and the despised Kapernicke girls from the farm next door teach her an unforgettable lesson that echoes down through the years. Now she’s heading back to where it all began, with teenagers Jed and Jenna reluctantly in tow. She plans to dance on a grave and track down some ghosts. Instead she learns a new lesson at the gravesite of an old enemy.
The exegesis examines Jung’s concept of the Shadow Archetype as a catalyst for individuation in writing for young adults. It discusses the need to re-vision Jung’s work within a feminist framework and contrasts it to Julia Kristeva’s work on the abject. Alyssa Brugman’s Walking Naked and Sonya Hartnett’s Sleeping Dogs are analysed in relation to these concepts and lead into my own creative reflections on, and justification for, use of the Shadow conceptual framework. In following my shadow and establishing a creative dialogue between my conscious intent and unconscious inspirations, I have discovered a writing self that is “other” to the professional writer persona of my past.
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Cordischi, Camilla. "Den gamle och filmen : Om den nya generationen äldre och dess plats i det cinematiska rummet. En representationsstudie." Thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-87384.
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Within the field of cinema studies, the question of visual representation is a fundamental pillar. An immense volume of theoretical work has been written on the subject, with various academic approaches such as feministic, postcolonial and gay/lesbian. Yet there is a large social group that seems to have been overlooked within the representational discourse: the elderly. This group of people appears to be a blind spot on the multicultural retina, too often neglected within the area of cultural studies. But as the baby boomer generation, who has always redefined the different stages of life (youth, adulthood, middle age), is entering old age, things are slowly changing. Utilizing a post-structural framework, this essay investigates the visual representation of elderly within the cinematic landscape of the western world. Since the subject is somewhat uncharted territory, a broad interdisciplinary approach is necessary where modern social gerontology meets the field of cinema studies. In a cultural context, social grouping based on age implies a distinct position versus the normative, compare to other types of minorities. Changes of sex, skin colour or sexual preference are uncommon, whereas changing age is the fate of every human being. The elderly as the “the Other” is thus every man’s future destiny. This rather unique position carries an immanent paradox since the only way to avoid the periphery in question is death. As a philosophical counterpoint to this rather dystopian outlook, Gilles Deleuze’s theory of becoming is brought into the discussion. The theoretical part of the essay ends with the ontology of age, a historical review of the field of gerontology and the concept of ageism. After a descriptive section, where contemporary examples of film and other media with old age as a main theme are identified, the analytical part of the essay ensues. With the French sociologist Pierre Bourdieu as a theoretical frame of reference, a close reading of the films Avalon (Axel Petersén, 2011), About Schmidt (Alexander Payne, 2002) and RED (Robert Schwentke, 2010) are performed, emphasising aging identity and imposed age-normative behaviour. The semiotics of the aged body is discussed through Jacques Lacans mirror stage and Julia Kristevas abject theory, exemplified by the works of Donigan Cumming. The final part of the essay concerns the great eternal questions within film philosophy: life, death, time and memory, which for the elderly are not merely philosophical concerns but rather notable existential realities. Using Deleuze as a philosophical toolbox, these grand topics are illuminated with examples from The Curious Case of Benjamin Button (David Fincher, 2008), Amour (Michael Haneke, 2012) and Ingmar Bergmans classical works, such as Smultronstället (1957), Saraband (2003) and Gycklarnas afton (1953).
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Rydqvist, Ryan Ebba. "Kvinnliga monster och abjekt femininitet : En semiotisk och psykoanalytisk studie av femininitet, feminism och monsterkroppen i tv-serien Penny Dreadful." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131165.
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Studien undersöker hur kvinnliga karaktärer representeras i relation till skräcktematiken i tv-serien Penny Dreadful (2014-). Syftet har varit att studera huruvida det som är typiska kännetecken för skräck kan kopplas till kvinnlighet, femininitet och feminism (det senare då man kan uppfatta ett genuskritiskt samtal i serien). Med hjälp av psykoanalytiska teorier kring abjektion visar analysen hur det som är skrämmande med kvinnor, är skrämmande på andra sätt än vad som är skrämmande med män. Det som är abjekt med kvinnan definieras ofta utifrån hennes sexualitet och biologiska egenskaper, och skapar därmed en feminin monstrositet och således är helt olik den manliga. Detta har till stor del växt fram genom historiska myter, religioner och konst, som har bidragit till könsspecifika monster utifrån stereotyp femininitet, så som häxor, sirener eller Medusa. Genom att utforska tv-seriens karaktärer med hjälp av semiotiska och psykoanalytiska verktyg avslöjas möjliga tolkningar som visar hur nämnda feminina monster tycks grunda sig i manlig rädsla och kvinnan som hot. Kastrationskomplexet som bidragande faktor och den manliga blicken tycks därför kväsa uttryck för kvinnlig frigörelse i serien, genom att sexualisera, plåga och göra kvinnan abjekt och monstruös i direkt genmäle till dessa. Serien tycks därför trots sin genuskritiska diskurs kontrolleras av en manlig blick och ett skoptofiliskt seende, något som möjligtvis bidrar till att kvinnlighet och femininitet kodas som abjekt, och i värsta fall stigmatiserar den feministiska kvinnan.Reviderad upplaga
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Marken, Moa. ""Of unhallowed arts" : Ett undersökande av de själsliga konsekvenserna av sanningssökande och skapande i Mary Shelleys Frankenstein." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353603.
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