Not only a meditation on Proust, this is a commentary on how the experience of literature is manifested in time and sensation. Kristeva uses Proust as a starting point to reflect upon broader notions of character, time, sensation, metaphor, and history.
A practical overview of clinical issues related to end-of-life care, including grief and bereavement The needs of individuals with life-limiting or terminal illness and those caring for them are well documented. However, meeting these needs can be challenging, particularly in the absence of a well-established evidence base about how best to help. In this informative guide, editors Sara Qualls and Julia Kasl-Godley have brought together a notable team of international contributors to produce a clear structure offering mental health professionals a framework for developing the competencies needed to work with end-of-life care issues, challenges, concerns, and opportunities. Part of the Wiley Series in Clinical Geropsychology, this thorough and up-to-date guide answers complex questions often asked by patients, their families and caregivers, and helping professionals as well, including: How does dying occur, and how does it vary across illnesses? What are the spiritual issues that are visible in end-of-life care? How are families engaged in end-of-life care, and what services and support can mental health clinicians provide them? How should providers address mental disorders that appear at the end of life? What are the tools and strategies involved in advanced care planning, and how do they play out during end-of-life care? Sensitively addressing the issues that arise in the clinical care of the actively dying, this timely book is filled with clinical illustrations, guidance, tips for practice, and encouragement. Written to equip mental health professionals with the information they need to guide families and others caring for the needs of individuals with life-threatening and terminal illnesses, End-of-Life Issues, Grief, and Bereavement presents a rich resource for caregivers for the psychological, sociocultural, interpersonal, and spiritual aspects of care at the end of life. Also in the Wiley Series in Clinical Geropsychology Psychotherapy for Depression in Older Adults Changes in Decision-Making Capacity in Older Adults: Assessment and Intervention Aging Families and Caregiving
This book presents a new argument that reimagines modern theater's critical power and places innovative writing at the heart of the experimental stage.
Rather than the standard American story of an increasingly triumphant march of scientific inquiry towards structural phonology, Women, Language and Linguistics reveals linguistics where its purpose was communication; the appeal of languages lay in their diversity; and the authority of language lay in its speakers and writers. Julia S Falk explores the vital part which women have played in preserving a linguistics based on the reality and experience of language; this book finally brings to light a neglected perspective for those working in linguistics and the history of linguistics.
Taking as its focus a highly emotive area of study, The Dying Process draws on the experiences of daycare and hospice patients to provide a forceful new analysis of the period of decline prior to death. Placing the bodily realities of dying very firmly centre stage and questioning the ideology central to the modern hospice movement of enabling patients to 'live until they die', Julia Lawton shows how our concept of a 'good death' is open to interpretation. Her study examines the non-negotiable effects of a patient's bodily deterioration on their sense of self and, in so doing, offers a powerful new perspective in embodiment and emotion in death and dying. A detailed and subtle ethnographic study, The Dying Process engages with a range of deeply complex and ethically contentious issues surrounding the care of dying patients in hospices and elsewhere.
This book will make a valuable contribution to the field of German history, as well as the histories of gender and sexuality. The argument that Weimar feminism did bring about tangible gains for women needs to be made, and Roos has done so convincingly." ---Julia Sneeringer, Queens College Until 1927, Germany had a system of state-regulated prostitution, under which only those prostitutes who submitted to regular health checks and numerous other restrictions on their personal freedom were tolerated by the police. Male clients of prostitutes were not subject to any controls. The decriminalization of prostitution in 1927 resulted from important postwar gains in women's rights; yet this change---while welcomed by feminists, Social Democrats, and liberals—also mobilized powerful conservative resistance. In the early 1930s, the right-wing backlash against liberal gender reforms like the 1927 prostitution law played a fateful role in the downfall of the Weimar Republic and the rise of Nazism. Weimar through the Lens of Gender combines the political history of early twentieth-century Germany with analytical perspectives derived from the fields of gender studies and the history of sexuality. The book's argument will be of interest to a broad readership: specialists in the fields of gender studies and the history of sexuality, as well as historians and general readers interested in Weimar and Nazi Germany. Julia Roos is Assistant Professor of History at Indiana University, Bloomington. Jacket art: "Hamburg, vermutlich St. Pauli, 1920er–30er Jahre," photographer unknown, s/w-Fotografie. (Courtesy of the Museum für Hamburgische Geschichte.)
This volume, which follows hard on the heels of publication of the final volume of the 26-volume set of Kierkegaard's writings (Princeton, 1980-2000), allows its readers 'to find their way quickly to relevant sources of help,' elucidates Kierkegaard's 'central concepts,' and demonstrates the contemporary relevance of his ideas (he is 'important because of his emphasis on human subjectivity').
There were virtually no women film directors in germany until the 1970s. today there are proportionally more than in any other film-making country6, and their work has been extremely influential. Directors like Margarethe von Trotta, Helma Sanders-Brahms, Ulrike Ottinger and Helke Sander have made a huge contribution to feminist film culture, but until now critical consideration of New German Cinema in Britain and the United States has focused almost exclusively on male directors such as Rainer Werner Fassbinder and Wim Wenders. In Women and the New German Cinema Julia Knight examines how restrictive social, economic and institutional conditions have compounded the neglect of the new women directors. Rejecting the traditional auteur approach, she explores the principal characteristics of women’s film-making in the 1970s and 1980s, in particular the role of the women’s movement, the concern with the notion of a ‘feminine aesthetic’, women’s entry into the mainstream, and the emergence of a so-called post-feminist cinema. This timely and comprehensive study will be essential reading for everyone concerned with contemporary cinema and feminism.
Very quietly Ron said, “You know, I think the Towers are going to go. Maybe we’d better get out of here.” ßWe suddenly realized that if either of the Towers fell at a certain angle, our building was directly in the line of fall. Above the raging flames, the perpendicular steel I-beams were beginning to bulge out, softening in the heat. Again his unnaturally quiet voice, “I can’t stay here. If the Towers fall on us, I’ll die of fright.” (BALCONY VIEW - a 9/11/ Diary ) Julia Frey’s account begins on September 11, 2001, as the couple decide that despite her husband’s illness, they must somehow flee. They abandon his wheelchair; he is too frail to climb on a boat. Later that day, covered with ashes, they struggle home through a neighborhood pitched into destruction and chaos, to look out his study window at their new view: “the stage set for Dante’s Inferno.” The domino effect of one burning, collapsing building setting fire to the next one makes it clear that their own building could still go. “The electricity was out. Ron could never go down 26 flights on his rear end. We were trapped in the sky.” That’s when Julia decides to write it all down -- if only for the people who will find their bodies. Describing the first night in the the ruins, being evacuated, then returning weeks later, to live at Ground Zero, she discovers that their world has totally changed, yet finally not changed at all. “Our previous problems didn’t magically disappear. They were just waiting for us to come back in the door.” This powerful narrative of double coping -- with Ron’s progressing disability and with the after-effects of 9/11 -- describes a situation the manuals don’t cover -- caregiving in a disaster. Julia Frey’s intense, wryly humorous ‘you are there’ style buoys up the diary and moves it swiftly along, catching us in a gripping, touching, brave, tender, funny story of falling towers, a failing husband and a floundering ménage à trois. “Nothing happens in a vacuum,” she says, weaving in the leitmotif of a long-term love affair. Unflinchingly, she faces the ruins out the window and her own disturbing ambivalence as she sacrifices her creative and professional life to become a full-time caregiver. Ron is no angel, either. He’s a self-centered, willful novelist who after convincing her to take a lover, now wants her to give him up. “What makes him think he can turn us off and on like televisions?” she wonders. Ron’s own writing creates an important counterpoint to Julia’s voice, as she weaves into her diary quotations from his posthumous novel, Last Fall (FC2, 2005). In a poignant Coda, another tale comes to light -- the almost supernatural coincidences between Ron’s last short story and a series of events that occur after Ron dies. There is even a happy ending. Now, twenty years later, Julia's experience is no longer an extraordinary occurrence. This historical diary is important not only to historians, sociologists and psychologists helping patients recover from PTSD, but above all, to those who find themselves unexpectedly plunged into similar catastophic situations: becoming caregivers during a major emergency. The international Covid-19 pandemic and regional climate-change disasters like wildfires, tornadoes, hurricanes, repeated Gulf Coast flooding and the 2021 Texas freezes have left many unprepared peopleto deal with a very ill family member, without electricity, gas or clean water. Julia's dilemma unfortunately is no longer rare. Many people will find it comforting to know that even unheroic people manage to get through such times. Book Review: “An intimate memoir of love and loss in the shadow of 9/11 (...) Engaging and candid; an insightful look at how one woman copes with personal and national trauma.” -- Kirkus Indie
This book presents a new approach to understanding contemporary personal life, taking account of how people build their lives through a bricolage of ‘tradition’ and ‘modern’. The authors examine how tradition is used and adapted, invented and re-invented; how meaning can leak from past to present; the ways in which people’s agencies differ as they make decisions; and the process of bricolage in making new arrangements. These themes are illustrated through a variety of case studies, ranging from personal life in the 1950s, young women and marriage, the rise of cohabitation, female name change, living apart together, and creating weddings. Centrally the authors emphasise the re-traditionalisation involved in de-traditionalisation and the connectedness involved in individualised processes of relationship change. Reinventing Couples will be of interest to students and scholars across a range of disciplines including sociology, social work and social policy.
What if you had a dying child, spouse, lover, parent, and the world caved in? It could happen. What was it like, after the Towers fell, to live in a war zone with a gravely ill husband? Julia Frey's BALCONY VIEW is far more than a 9/11 story. In this unique, historic diary -- the handwritten original is in the 9/11 Museum in New York -- Frey, a distinguished biographer, found herself in the unenviable position of writing about a life as it was falling apart -- her own. Her vivid, wry, tender book describes living for six months at Ground Zero with writer, Ron Sukenick during his terminal illness. It's a beautifully written, clear-eyed portrait of simple courage, remarkable humor, generosity and decency." Douglas Penick, writer, literary critic "The view from this balcony is compelling and utterly unique. Julia Frey has a first row seat for the two tragedies which mark her existence -- the terrorist attacks on the World Trade Center and her husband's progressively disabling malady. She peers down at the excavation of Ground Zero and brings us an account both riveting and thoughtful, despairing and buoyant, graceful and frank. As she navigates post 9-11 Manhattan, and a marriage that has been dealt the blow of untimely illness, we get to see, up-close, how ordinary people get through extraordinary times. With her deft touch and her sharp-warm humor, Frey is the perfect guide for such daunting territory." Elizabeth Scarboro, author: Phoenix, upside down Very quietly Ron said, "You know, I think the Towers are going to go. Maybe we'd better get out of here." If either of the Towers fell at a certain angle, our building was directly in the line of fall. Above the raging flames, the steel I-beams were beginning to bulge out, softening in the heat. Again his unnaturally quiet voice, "I can't stay here. If the Towers start falling on us, I'll die of fright." (BALCONY VIEW - a 9/11/ Diary ) Julia Frey's remarkable account begins on September 11, 2001, as the couple decide that no matter how weak Ron is, they must somehow flee. They abandon his wheelchair. He is too frail to climb on a boat. Later that day, covered with ashes, they struggle home through a neighborhood pitched into destruction and chaos, to look out his study window at their new view: "the stage-set for Dante's Inferno." The domino effect of one burning, collapsing building setting fire to the next one makes it clear that their own building could still go. "The electricity was out. Ron could never go down 26 flights on his rear end. We were trapped in the sky." That's when Julia decides to write it all down -- if only for the people who will find their bodies. Describing the first night in the the ruins, being evacuated, then returning weeks later, to live at Ground Zero, she discovers that their world has totally changed, yet finally not changed at all. "Our previous problems didn't magically disappear. They were just waiting for us to come back in the door." This hugely powerful narrative of double coping -- with Ron's progressive illness and with the after-effects of 9/11 -- describes a situation the manuals don't cover -- caregiving in a disaster. Her intense yet humorous 'you are there' style moves the diary swiftly along, catching us in a gripping, touching, brave, and yes, funny story of falling towers, a failing husband and a floundering ménage à trois. "Nothing happens in a vacuum," she says, weaving in the leitmotif of a love affair. Unflinchingly, she faces the ruins outside and her frightening, inner ambivalence as she sacrifices creative and professional life to nurse her husband. Ron is no angel either -- the self-centered, willful novelist insists she take a lover, then wants her to give him up. "What makes him think he can turn us off and on like televisions?" she wonders. In a poignant Coda, she describes an almost supernatural series of events after Ron dies. There is even a happy ending.
Although often dismissed as a minor offshoot of the better-known German movement, expressionism on the American stage represents a critical phase in the development of American dramatic modernism. Situating expressionism within the context of early twentieth-century American culture, Walker demonstrates how playwrights who wrote in this mode were responding both to new communications technologies and to the perceived threat they posed to the embodied act of meaning. At a time when mute bodies gesticulated on the silver screen, ghostly voices emanated from tin horns, and inked words stamped out the personality of the hand that composed them, expressionist playwrights began to represent these new cultural experiences by disarticulating the theatrical languages of bodies, voices and words. In doing so, they not only innovated a new dramatic form, but redefined playwriting from a theatrical craft to a literary art form, heralding the birth of American dramatic modernism.
The Venerable Cheng-yen is an unassuming Taiwanese Buddhist nun who leads a worldwide social welfare movement with five million devotees in over thirty countries—with its largest branch in the United States. Tzu-Chi (Compassion Relief) began as a tiny, grassroots women's charitable group; today in Taiwan it runs three state-of-the-art hospitals, a television channel, and a university. Cheng-yen, who has been nominated for the Nobel Peace Prize, is a leader in Buddhist peace activism and has garnered recognition by Business Week as an entrepreneurial star. Based on extensive fieldwork in Taiwan, Malaysia, Japan, and the United States, this book explores the transformation of Tzu-Chi. C. Julia Huang offers a vivid ethnography that examines the movement’s organization, its relationship with NGOs and humanitarian organizations, and the nature of its Buddhist transnationalism, which is global in scope and local in practice. Tzu-Chi's identity is intimately tied to its leader, and Huang illuminates Cheng-yen's successful blending of charisma and compassion and the personal relationship between leader and devotee that defines the movement. This important book sheds new light on religion and cultural identity and contributes to our understanding of the nature of charisma and the role of faith-based organizations.
The A to Z of Kierkegaard's Philosophy provides a contextual introduction to Kierkegaard's 19th century world of Copenhagen, a chronology of events and key figures in his life, as well as definitions of the key systems of his thought-theology, existentialism, literature, and psychology. The extensive bibliographical section covers secondary literature and electronic materials of help to researchers. The appendix includes detailed information on his writings, along with a list of his pseudonyms. This book is useful not only as a guide for experienced scholars, but also as an introduction to new students of Kierkegaard's Philosophy.
This book examines the functions of sculpture during the Preclassic period in Mesoamerica and its significance in statements of social identity. Julia Guernsey situates the origins and evolution of monumental stone sculpture within a broader social and political context and demonstrates the role that such sculpture played in creating and institutionalizing social hierarchies. This book focuses specifically on an enigmatic type of public, monumental sculpture known as the "potbelly" that traces its antecedents to earlier, small domestic ritual objects and ceramic figurines. The cessation of domestic rituals involving ceramic figurines along the Pacific slope coincided not only with the creation of the first monumental potbelly sculptures, but with the rise of the first state-level societies in Mesoamerica by the advent of the Late Preclassic period. The potbellies became central to the physical representation of new forms of social identity and expressions of political authority during this time of dramatic change.
This book presents the findings of a recent interview-based study of how 28 young adults living in Melbourne, Australia viewed and related to both the personal and societal future. In so doing it addresses issues such as how individuals imagine the future of their society, and whether this has any bearing on the way in which they perceive and relate to their own, personal future. The respondents’ future imaginings are also considered in relation to influential theoretical accounts that have sought to diagnose the character of contemporary society, and with it the future horizon. Drawing on this discussion, some alternative ways of conceptualising micro experiences of future-oriented thinking are proposed, and the role that hope can play in this process is addressed. This book will appeal to readers who are interested in the sociology of risk and uncertainty, time, and youth.
This book is the first ethnography of the little-known world of clozapine clinics in Australia and the United Kingdom. Anthropologist Julia Brown engages with the narratives of people living in extreme health circumstances to challenge some of the assumptions made about clozapine treatment and to explore what it means to be diagnosed with ‘treatment-resistant schizophrenia.’ Clozapine is a gold standard but controversial treatment for psychosis that requires lifelong monitoring to reduce fatality caused by clozapine side effects. Focusing on the social world of the clozapine clinic and based on the author’s own extensive research, this book explores what it means to live with the interpersonal challenges of psychosis and trauma, the risks of multi-morbidity, and how clozapine clients can experience meaningful control over their health. Brown uses her findings to point to the practical clinical implications of clozapine clients being given more recognition and accountability, and to explore how health agency relates to moral agency. The Clozapine Clinic particularly highlights the importance of investing in continuity of healthcare and is an essential read for caregivers who work with sufferers of psychosis as well as academics and policymakers focused on mental health.
The Roman Empire has been a source of inspiration and a model for imitation for Western empires practically since the moment Rome fell. Yet, as Julia Hell shows in The Conquest of Ruins, what has had the strongest grip on aspiring imperial imaginations isn’t that empire’s glory but its fall—and the haunting monuments left in its wake. Hell examines centuries of European empire-building—from Charles V in the sixteenth century and Napoleon’s campaigns of the late seventeenth and early eighteenth centuries to the atrocities of Mussolini and the Third Reich in the 1930s and ’40s—and sees a similar fascination with recreating the Roman past in the contemporary image. In every case—particularly that of the Nazi regime—the ruins of Rome seem to represent a mystery to be solved: how could an empire so powerful be brought so low? Hell argues that this fascination with the ruins of greatness expresses a need on the part of would-be conquerors to find something to ward off a similar demise for their particular empire.
Historicizing both emotions and politics, this open access book argues that the historical work of emotion is most clearly understood in terms of the dynamics of institutionalization. This is shown in twelve case studies that focus on decisive moments in European and US history from 1800 until today. Each case study clarifies how emotions were central to people’s political engagement and its effects. The sources range from parliamentary buildings and social movements, to images and speeches of presidents, from fascist cemeteries to the International Criminal Court. Both the timeframe and the geographical focus have been chosen to highlight the increasingly participatory character of nineteenth- and twentieth-century politics, which is inconceivable without the work of emotions.
Guernsey draws on D. W. Winnicott's object relations model, which focuses on self-development in a relational context, to illuminate various senses of self and Other that Herbert's poems express discursively and formally. The book will appeal not only to Herbert scholars and other Renaissance critics but also to audiences interested in psychoanalysis and how it relates to literature, religion, culture, and poetics."--BOOK JACKET.
Best known as a novelist and social satirist whose work anticipated Jane Austen's, Frances Burney (1752-1840) has also been recognized as an important writer in the history of feminist literature. Julia Epstein now offers a new interpretation of Burney and her work: that Burney's anger at the economic and social conditions of women emerges in her writing in moments of barely contained violence, and that her representations of violence and hostility provide a key to Burney's literary power. The Iron Pen situates Burney's writings within the sociopolitical context of the late eighteenth century and proposes a new approach to the development of the novel of manners. In addition, Epstein presents a comprehensive study of the reception of Burney's work from its original publication to the present. This study illuminates the history of popular book reviewing and of academic literary scholarship as political enterprises. Beginning with an examination of Burney's journals and letters, including an account of the mastectomy she underwent without anesthesia while in exile in Paris in 1811, Epstein then offers readings of Burney's four novels, paying close attention to the depiction of repressed anger and violence that characterizes all her work. The final section traces critics' responses to Burney's published writings from 1778, when her first novel, Evelina, appeared anonymously, to the present in readings informed by psychoanalysis, post-structuralism and feminist literary theory. Drawing upon the work of critics of eighteenth-century culture such as Mary Poovey, Ellen Pollak, Ruth Perry, and Margaret Doody, Epstein is successful in two ways: in combining an analysis of a set of texts with an analysis of a particular set of cultural assumptions and in her intentional underscoring of the complex nature of critical practice.
Interlacing the life and work of Arendt, the seminal 20th century philosopher, Kristeva provides readers with an elegant, sophisticated biography replete with powerful psychoanalytic insight. 4 halftones.
This handbook provides teachers with a framework for implementing inquiry-based, substantive art integration across the curriculum, along with the background knowledge and models needed to do this. Drawing on ideas from Harvard Project Zero, the authors make a clear and compelling argument for how contemporary art supports student learning. The text features subject-specific chapters co-written by teaching scholars from that discipline. Each chapter includes examples of contemporary art with explanations of how these works explore the fundamental concepts of the academic discipline. The book concludes with a chapter on an integrated, inquiry-based curriculum inspired by contemporary art, including guidelines for developing art projects teachers can adapt to their students’ interests and needs. This resource is appropriate for art teachers, as well as subject-area teachers who are not familiar with using contemporary art in the classroom. “I am so excited about this book! The visuals alone are enough to clue teachers in on ways that Contemporary Art can blow their curriculums open to become engaging, relevant vehicles for their students to ride across the 21st century. From the first scan, readers cannot help but see the power of Contemporary Art in transforming classrooms and learning.” —From the Foreword by Lois Hetland, professor and chair of art education at Massachusetts College of Art and Design, and co-author of Studio Thinking 2 “Art-Centered Learning Across the Curriculum well surpasses its goal to demystify contemporary art for K–12 teachers. In this important text, the authors present a direct challenge to educators and public education reformers of all stripes to embrace the arts and design practices across disciplines as a potent means for building beautiful minds, not merely as a tool for beautifying dingy school corridors. This new book serves as a primer for fashioning the kinds of integrated curriculum frameworks required for success in today’s global knowledge economy.” —James Haywood Rolling Jr., chair of art education and a dual professor in art education and teaching and leadership, Syracuse University
The 500 years following the collapse of the Roman Empire is still popularly perceived as Europe's 'Dark Ages', marked by barbarism and uniformity. Julia Smith's masterly book sweeps away this view, and instead illuminates a time of great vitality and cultural diversity. Through a combination of cultural history, regional studies, and gender history, she shows how men and women at all levels of society ordered their world, and she allows them to speak to the reader directly in their. own words. This is the first single-author study in over fifty years to offer an integrated appraisal of all asp.
Uniquely combining the latest research into careers with the most up to date coaching approaches, Julia Yates shows how to effectively apply coaching techniques to the world of career support. Demonstrating how coaching research explains practice and how practice benefits from research, The Career Coaching Handbook is accessibly written with a solid evidence-based foundation. Presented in three parts, the book covers developments in theory and research and applies this knowledge to the real world. Part 1, Theories of Career, looks at 21st century career paths, job satisfaction and career changes – both planned and unplanned. Part 2, Career Coaching Approaches, looks at coaching strategies that are applicable to career coaching in particular. Part 3, Coaching into the World of Work, covers specific real-world situations where coaching is beneficial, from job search strategies to CV and interview coaching. Evidence and research is used throughout to demonstrate the most effective strategies for coaching. The Career Coaching Handbook provides an essential introduction for students or practitioners who are interested in developing their own practice, finding new and improved ways to do things and understanding the theories that underpin effective career coaching practice.
In this combination of diligent science reporting, moving patient success stories, and surprising self-discovery, journalist Julia Hotz helps us discover lasting and life-changing medicine in our own communities. Traditionally, when we get sick, health care professionals ask, “What’s the matter with you?” But around the world, teams of doctors, nurses, therapists, and social workers have started to flip the script, asking “What matters to you?” Instead of solely pharmaceutical prescriptions, they offer ‘social prescriptions’—referrals to community activities and resources, like photography classes, gardening groups, and volunteering gigs. The results speak for themselves. Science shows that social prescribing is effective for treating symptoms of the modern world’s most common ailments—depression, ADHD, addiction, trauma, anxiety, chronic pain, dementia, diabetes, and loneliness. As health care’s de facto cycle of “diagnose-treat-repeat” reaches a breaking point, social prescribing has also proven to reduce patient wait times, lower hospitalization rates, save money, and reverse health worker burnout. And as a general sense of unwellness plagues more of us, social prescriptions can help us feel healthier than we’ve felt in years. As Hotz tours the globe to investigate the spread of social prescribing to over thirty countries, she meets people personifying its revolutionary potential: an aspiring novelist whose art workshop helps her cope with trauma symptoms and rediscover her joy; a policy researcher whose swimming course helps her taper off antidepressants and feel excited to wake up in the morning; an army vet whose phone conversations help him form his only true friendship; and dozens more. The success stories she finds bring a long-known theory to life: if we can change our environment, we can change our health. By reconnecting to what matters to us, we can all start to feel better.
Employing an approach informed by Slavoj Zizek's work on the Communist's sublime body and by British psychoanalytic feminism's concern with feminine subjectivity, Hell first examines the antifascist works by exiled authors and authors tied to the resistance movement. She then strives to understand the role of Christa Wolf, the GDR's most prominent author, in the GDR's effort to reconstruct symbolic power after the Nazi period.
This is a collection of 22 never-before-translated interviews and one personal essay by Julia Kristeva. Kristeva's in-depth discussions with major figures in contemporary arts and letters cover topics as diverse as the American literary academy, fiction writing, and issues in neuroscience.
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