Journal articles: 'Julia Kristeva'

1

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

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

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

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14

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

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15

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

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16

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

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

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

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

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18

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

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19

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

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20

Witt-Brattström, Ebba. "Främlingskap - intervju med Julia Kristeva." Tidskrift för genusvetenskap 12, no. 3 (June 22, 2022): 41–47. http://dx.doi.org/10.55870/tgv.v12i3.5122.

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»Främlingen bebor oss» skriver Julia Kristeva och menar att denna aspekt bildar frånsidan av vår identitet. Det går inte att säga »vi» utan att förutsätta ett »dom». Ebba Witt-Brattström intervjuar här Kristeva med utgångspunkt främst i hennes bok »Främlingar för oss själva», en kulturhistorisk essä över främlingskapets historiska rötter i Västerlandet.

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21

Puică, Gina. "Théodore Cazaban et Julia Kristeva." Recherches, no. 3 (December 1, 2009): 69–86. http://dx.doi.org/10.4000/cher.8000.

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22

Palson-Beaunier, Mireille. "La passion selon Julia Kristeva." La chaîne d'union N° 43, no. 1 (January 1, 2008): 7–9. http://dx.doi.org/10.3917/cdu.043.0007.

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23

Rifkin, Adrian. "Julia Kristeva and her histories." Parallax 4, no. 3 (July 1998): 135–41. http://dx.doi.org/10.1080/135346498250154.

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24

Merlin, Ilya. "Julia Kristeva, Hatred and forgiveness." Feminism & Psychology 22, no. 2 (April 10, 2012): 279–82. http://dx.doi.org/10.1177/0959353512439545.

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25

Keltner, Stacy K. "Julia Kristeva: Psychoanalysis and Modernity." Continental Philosophy Review 39, no. 1 (March 2006): 107–12. http://dx.doi.org/10.1007/s11007-006-9018-1.

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26

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

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

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

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

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Owesen, Ingeborg Winderen. "Julia Kristeva – en kort introduksjon." Agora 21, no. 01 (March 18, 2003): 5–12. http://dx.doi.org/10.18261/issn1500-1571-2003-01-02.

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29

Garside, Damian. "If Julia Kristeva had WrittenThe Odyssey." English Academy Review 30, no. 2 (October 2013): 103. http://dx.doi.org/10.1080/10131752.2013.834696.

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30

Butler, Judith. "The Body Politics of Julia Kristeva." Hypatia 3, no. 3 (1988): 104–18. http://dx.doi.org/10.1111/j.1527-2001.1988.tb00191.x.

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Julia Kristeva attempts to expose the limits of Lacan's theory of language by revealing the semiotic dimension of language that it excludes. She argues that the semiotic potential of language is subversive, and describes the semiotic as a poetic-maternal linguistic practice that disrupts the symbolic, understood as culturally intelligible rule-governed speech. In the course of arguing that the semiotic contests the universality of the Symbolic, Kristeva makes several theoretical moves which end up consolidating the power of the Symbolic and paternal authority generally. She defends a maternal instinct as a pre-discursive biological necessity, thereby naturalizing a specific cultural configuration of maternity. In her use of psychoanalytic theory, she ends up claiming the cultural unintelligibility of lesbianism. Her distinction between the semiotic and the Symbolic operates to foreclose a cultural investigation into the genesis of precisely those feminine principles for which she claims a pre-discursive, naturalistic ontology. Although she claims that the maternal aspects of language are repressed in Symbolic speech and provide a critical possibility of displacing the hegemony of the paternal/symbolic, her very descriptions of the maternal appear to accept rather than contest the inevitable hegemony of the Symbolic. In conclusion, this essay offers a genealogical critique of the maternal discourse in Kristeva and suggests that recourse to the maternal does not constitute a subversive strategy as Kristeva appears to assume.

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31

Kristeva, Julia. "Julia Kristeva interviewed by Vassiliki Kolocotroni." Textual Practice 5, no. 2 (June 1991): 157–70. http://dx.doi.org/10.1080/09502369108582109.

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32

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

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

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33

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

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

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34

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

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

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35

Whitford, Margaret. "Body/Text in Julia Kristeva; Melancholia and Love; Ethics, Politics and Difference in Julia Kristeva's Writing." Women’s Philosophy Review, no. 16 (1996): 18–19. http://dx.doi.org/10.5840/wpr19961637.

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36

Carbonell, Neus. "De la mujer y de la ética: la "diferencia" de Julia Kristeva." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 5-6 (June 18, 2021): 83–91. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.19955-65549.

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"De la mujer y de la ética: la diferencia de Julia Kristeva" hace un recorrido por los textos de la escritora, crítica literaria y psicoanalista Julia Kristeva que analizan el problema de la subjetividad femenina y su construcción en la cultura. A partir de la lectura de las siguientes obras: Révolution du language poétique (1974), Des Chinoises (1974), Histories d'amour (1983) y "Women's Time" (1979) se analizan las ideas de su autora en relación al sujeto de la enunciación, lo femenino, la maternidad y la diferencia sexual. La tesis del artículo propone que, contrariamente a algunas de las prácticas de la posmodernidad, las teorías de Kristeva pueden ser vistas como una respuesta a la obliteración en la historia, de la mujer y de las mujeres, es decir, como sujetos y como colectivo. De tal modo que, situándose a sí misma en una tradición concreta (masculina) de conocimiento y de pensamiento, Julia Kristeva ha explorado formas de trascender tal tradición también con el objetivo de crear un discurso de y para la mujer.

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37

Schmitz, Bettina. "Julia Kristeva: Die neuen Leiden der Seele." Die Philosophin 7, no. 13 (1996): 113–17. http://dx.doi.org/10.5840/philosophin199671312.

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38

Whelan, Winifred. "POSTMODERNISM IN THE WORK OF JULIA KRISTEVA." Religious Education 94, no. 3 (June 1999): 289–98. http://dx.doi.org/10.1080/0034408990940304.

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39

Whelan, Marc. "This Incredible Need to Believe (Julia Kristeva)." Irish Theological Quarterly 76, no. 3 (June 29, 2011): 317–18. http://dx.doi.org/10.1177/002114001140574366.

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40

Grue, Jan. "Rhetorics of difference: Julia Kristeva and disability." Scandinavian Journal of Disability Research 15, no. 1 (March 2013): 45–57. http://dx.doi.org/10.1080/15017419.2012.660705.

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41

Kristeva, Julia. "Maternal Politics: An Interview with Julia Kristeva." Studies in Practical Philosophy 1, no. 2 (1999): 133–43. http://dx.doi.org/10.5840/studpracphil1999129.

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Gambaudo, Sylvie. "Julia Kristeva, ‘woman’s primary homosexuality’ and homophobia." European Journal of Women's Studies 20, no. 1 (January 17, 2013): 8–20. http://dx.doi.org/10.1177/1350506812456460.

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Silva, Maria Luiza Berwanger da. "ROLAND BARTHES E AS REPRESENTAÇÕES DA ALTERIDADE." Revista Criação & Crítica, spe (December 30, 2015): 130. http://dx.doi.org/10.11606/issn.1984-1124.v0ispep130-135.

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<p>Com base na leitura do texto <em>L’Étrangère</em>, de Roland Barthes, este artigo examina representações do estrangeiro emergentes da produção teórico-crítica desse intelectual francês. Considera sobretudo a figura do Outro mediada pela amizade intelectual e pessoal que estabelece com Julia Kristeva. Para tanto, o artigo evidencia a contribuição de Julia Kristeva para o avanço da Semiologia Francesa, representando-a pelo projeto de renovação de paradigmas semiológicos cristalizados que impedem, segundo Barthes, a valorização da diferença. Este artigo também estuda textos de homenagem de Julia Kristeva a Roland Barthes, neles sublinhando a crítica da reciprocidade como critério de valor e « noyau dur » da reflexão barthesiana. Assim, o presente artigo estabelece um jogo de cartografias intelectuais e afetivas entre os dois semiólogos que enfatizam a recepção favorável à Alteridade articulada pelo pensamento plural (nacional e transnacional) de Roland Barthes.</p>

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Rabine, Leslie W. "In the Beginning Was Love: Psychoanalysis and Faith by Julia Kristeva, and: Tales of Love by Julia Kristeva." L'Esprit Créateur 29, no. 1 (1989): 100–101. http://dx.doi.org/10.1353/esp.1989.0028.

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

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

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Nycz, Krzysztof. "Über den Text hinaus: Intertextuelle Bezüge in Wirtschaftstexten." Roczniki Humanistyczne 69, no. 5 (June 16, 2021): 231–44. http://dx.doi.org/10.18290/rh21695-13.

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Poza tekstem. Odniesienia intertekstowe w tekstach biznesowych Pojęcie intertekstualności, wprowadzone do badań literackich przez Julię Kristevą w latach sześćdziesiątych XX wieku, wywołało niezwykle ożywioną debatę. W niniejszym artykule na wstępie zaprezentowano różne koncepcje intertekstualności. Następnie wyjaśniono koncepcję sieci tekstów (specjalistycznych). Na zakończenie podjęto próbę zilustrowania powiązań intertekstualnych na przykładzie wybranych typów tekstów specjalistycznych z dziedziny komunikacji giełdowej. Gegenstand dieses Beitrags ist das Konzept der Intertextualität, das von Julia Kristeva in den 1960er Jahren in die Literaturwissenschaft eingeführt wurde und in späterer Zeit für eine lebhafte Diskussion in der Literatur- und Sprachwissenschaft sorgte. Zuerst werden unterschiedliche linguistische Intertextualitätskonzepte dargestellt. Darauf folgt die Erklärung des Ansatzes der Textsortennetze. Zum Schluss werden intertextuelle Beziehungen zwischen ausgewählten Textsorten im Bereich der Börsenkommunikation dargestellt.

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Septiyani, Viandika Indah, and Suminto A. Sayuti. "Oposisi dalam Novel 'Rahuvana Tattwa' karya Agus Sunyoto: Analisis Intertekstual Julia Kristeva (Opposition in Agus Sunyoto's 'Rahuvana Tattwa' Novel: Julia Kristeva’s Intertextual Analysis)." Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya 9, no. 2 (December 10, 2020): 174. http://dx.doi.org/10.26714/lensa.9.2.2019.174-186.

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Novel Rahuvana Tattwa digunakan dalam penelitian ini untuk mengkaji teori intertekstual perspektif Julia Kristeva yang berupa oposisi. Terdapat dua pertentangan atau lebih yang disandingkan dalam teori oposisi. Pertentangan itu menyebabkan terjadinya perpecahan karena tidak dapat dipersatukan. Oposisi diungkap menggunakan teori intertekstualitas Julia Kristeva yang terdapat pada novel Rahuvana Tattwa karya Agus Sunyoto. Novel Rahuvana Tattwa merupakan salah satu pertentangan dari cerita Ramayana. Metode penelitian yang digunakan adalah deskriptif kualitatif, data dikumpulkan melalui baca catat, penelitian dilakukan dengan cara membaca secara keseluruhan kemudian mencatat data-data yang terdapat di dalam novel Rahuvana Tattwa karya Agus Sunyoto cetakan pertama tahun 2009. Instrumen penelitian pada metode penelitian kualitatif adalah peneliti sendiri yang bertugak untuk mengumpulkan data, menganalisis, kemudian menjabarkan. Ditemukan tiga oposisi pada novel Rahuvana Tattwa, yaitu sesembahan dengan jumlah tujuh data, sistem kekerabatan empat data dan peradaban 12 data dari kedua golongan.Kata kunci: intertekstual, oposisi, budaya, Rahuvana Tattwa, Julia KristevaABSTRACTRahuvana Tattwa is the novel used in this study to examine the intertextual theory of Julia Kristeva's perspective in the form of opposition. There are two or more contradictions that are juxtaposed in opposition theory. This contradiction causes division because it cannot be united. The opposition was expressed using Julia Kristeva's intertextuality theory contained in Agus Sunyoto's Rahuvana Tattwa novel. Rahuvana Tattwa's novel is one of the contradictions of the Ramayana story. The research method used is descriptive qualitative, data is collected through reading notes, research is done by reading as a whole and then recording the data contained in the novel Rahuvana Tattwa by Agus Sunyoto the first printing in 2009. The research instrument in qualitative research methods is the researcher himself which has a duty to collect data, analyze, and then describe. Found three oppositions in the novel Rahuvana Tattwa, namely offering seven data, kinship four data systems and 12 civilization data from both groups.

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48

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

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

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Kristianto, Paulus Eko. "Aku dalam Kehinaanku!: Menafsir Kehinaan Menurut Julia Kristeva." Gema Teologika 2, no. 1 (April 28, 2017): 23. http://dx.doi.org/10.21460/gema.2016.21.281.

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Abjection normally is understood as the gross taste. However, whether such humiliation is also understood when placed in the frame of philosophy? Julia Kristeva states abjection with regard to aesthetics in art and literature through poetry catharsis. That is through abjection, people are invited to immerse themselves further in selfhood. The key phrase is trying held by the author in this article outlines. The author tries to offer an alternative that has been wrapped Kristeva debasement in the language of the interface between semiotics and symbolism.

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Kristianto, Paulus Eko. "Aku dalam Kehinaanku!: Menafsir Kehinaan Menurut Julia Kristeva." GEMA TEOLOGIKA 2, no. 1 (April 28, 2017): 23. http://dx.doi.org/10.21460/gema.2017.21.281.

Full text

Abstract:

Abjection normally is understood as the gross taste. However, whether such humiliation is also understood when placed in the frame of philosophy? Julia Kristeva states abjection with regard to aesthetics in art and literature through poetry catharsis. That is through abjection, people are invited to immerse themselves further in selfhood. The key phrase is trying held by the author in this article outlines. The author tries to offer an alternative that has been wrapped Kristeva debasement in the language of the interface between semiotics and symbolism.

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Journal articles on the topic 'Julia Kristeva'

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