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.
An easily accessible introduction to Kristeva's work in English. The essays have been selected as representative of the three main areas of Kristeva's writing--semiotics, psychoanalysis, and political theory--and are each prefaced by a clear, instructive introduction. For beginners or those familiar with Kristeva's work this is a good complement to The Portable Kristeva with a convenient selection of articles from Kristeva's earlier work some of which are otherwise hard to come by.
As a linguist, Julia Kristeva has pioneered a revolutionary theory of the sign in its relation to social and political emancipation; as a practicing psychoanalyst, she has produced work on the nature of the human subject and sexuality, and on the "new maladies" of today's neurotic. The Portable Kristeva is the only fully comprehensive compilation of Kristeva's key writings. The second edition includes added material from Kristeva's most important works of the past five years, including The Sense and Non-Sense of Revolt, Intimate Revolt, and Hannah Arendt. Editor Kelly Oliver has also added new material to the introduction, summarizing Kristeva's latest intellectual endeavors and updating the bibliography.
A definitive biography offers insight into the life and work of novelist Colette and provides accounts of Colette's celebration of sexual pleasure in her writing, her three marriages, and her state funeral, the first for a woman in France.
Julia Kristeva is a true polymath, an intellectual of astonishingly wide range whose erudition and insight have been brought to bear on psychoanalysis, literary criticism, gender and sex, and cultural critique. Passions of Our Time showcases recent essays of Kristeva’s that demonstrate the scope of her capacious intellect, her gifts as a stylist, and the profound contribution of her thought to the challenges of the present. The collection begins with а vivid recollection of celebrating, as a child in Bulgaria, Alphabet Day, the holiday honoring the Cyrillic letters, which proceeds outward into a contemplation of the writer as translator. Kristeva considers literature with Barthes, freedom through Rousseau, Teresa of Avila and mystical experience, Simone de Beauvoir’s dream life, and Antigone and the psychic life of women. A group of essays drawing on her psychoanalytic work delve into Freud, Lacan, maternal eroticism, and the continued importance of psychoanalysis today. In a series of striking investigations, she thinks through disability and normativity, monotheism and secularization, the need to believe and the desire to know. Calling for the courage to renew and reinvent humanism, she outlines the principles of a stance founded on the importance of respecting human life. Finally, Kristeva discusses French culture and diversity, rethinking universalism and interrogating the potential for Islam and psychoanalysis to meet, and pays homage to Beauvoir by rephrasing her dictum into the provocative “One is born woman, but I become one.”
This book is concerned with the notion of the stranger—the foreigner, outsider, or alien in a country and society not their own—as well as the notion of strangeness within the self, a person’s deep sense of being, as distinct from outside appearance and their conscious idea of self. Julia Kristeva begins with the personal and moves outward by examining world literature and philosophy. She discusses the foreigner in Greek tragedy, in the Bible, and in the literature of the Middle Ages, Renaissance, Enlightenment, and the twentieth century. By considering the legal status of foreigners throughout history, Kristeva offers a different perspective on our own civilization.
After a woman is murdered and decapitated, French journalist Stephanie Delacour interviews various people who knew her and the probe becomes a study in character. By a woman psychoanalyst, author of The Old Man and the Wolves.
From the Publisher: Assuming the voices of psychoanalyst, scholar, and postmodern polemicist, Kristeva discusses both the conflicts and commonalities among the Greek, Christian, Roman, and contemporary discourses on love, desire, and self.
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.
“A sprawling analysis of religion in major psychological and philosophical literature, fiction and in private life . . . compelling and remarkable.”—Publishers Weekly “Unlike Freud, I do not claim that religion is just an illusion and a source of neurosis. The time has come to recognize, without being afraid of ‘frightening’ either the faithful or the agnostics, that the history of Christianity prepared the world for humanism.” So writes Julia Kristeva in this provocative work, which skillfully upends our entrenched ideas about religion, belief, and the thought and work of a renowned psychoanalyst and critic. With dialogue and essay, Kristeva analyzes our “incredible need to believe”—the inexorable push toward faith that, for Kristeva, lies at the heart of the psyche and the history of society. Examining the lives, theories, and convictions of Saint Teresa of Avila, Sigmund Freud, Donald Winnicott, Hannah Arendt, and other individuals, she investigates the intersection between the desire for God and the shadowy zone in which belief resides. Kristeva suggests that human beings are formed by their need to believe, beginning with our first attempts at speech and following through to our adolescent search for identity and meaning. Kristeva then applies her insight to contemporary religious clashes and the plight of immigrant populations. Even if we no longer have faith in God, Kristeva argues, we must believe in human destiny and creative possibility. Reclaiming Christianity’s openness to self-questioning and the search for knowledge, Kristeva urges a “new kind of politics,” one that restores the integrity of the human community. “A helpful commentary and introduction to Kristeva’s major work over the last two decades.”—Choice
Drawing on the work of psychologist Helene Deutsch and the writer Germaine de Stael. Kristeva turns her attention in the second half of New Maladies of the Soul to women's experience and contributions within the broader context of contemporary history. Delving into art, literature, autobiography, and theories of language, she continues with an exploration of cultural products ranging from the Bible to the work of Leonardo da Vinci.
Julia Kristeva, herself a product of the famous May '68 Paris student uprising, has long been fascinated by the concept of rebellion and revolution. Psychoanalysts believe that rebellion guarantees our independence and creative capacities, but is revolution still possible? Confronted with the culture of entertainment, can we build and nurture a culture of revolt, in the etymological and Proustian sense of the word: an unveiling, a return, a displacement, a reconstruction of the past, of memory, of meaning? In the first part of the book, Kristeva examines the manner in which three of the most unsettling modern writers--Aragon, Sartre, and Barthes--affirm their personal rebellion. In the second part of the book, Kristeva ponders the future of rebellion. She maintains that the "new world order" is not favorable to revolt. "What can we revolt against if power is vacant and values corrupt?" she asks. Not only is political revolt mired in compromise among parties whose differences are less and less obvious, but an essential component of European culture--a culture of doubt and criticism--is losing its moral and aesthetic impact.
In Powers of Horror, Julia Kristeva offers an extensive and profound consideration of the nature of abjection. Drawing on Freud and Lacan, she analyzes the nature of attitudes toward repulsive subjects and examines the function of these topics in the writings of Louis-Ferdinand Céline, Marcel Proust, James Joyce, and other authors. Kristeva identifies the abject with the eruption of the real and the presence of death. She explores how art and religion each offer ways of purifying the abject, arguing that amid abjection, boundaries between subject and object break down.
Annotation Julia Kristeva explores the phenomenon of hate (and our attempts to subvert, sublimate and otherwise process the emotion) through key texts and contexts. Her inquiry spans the themes, topics and figures that have been central to her writing over the past three decades.
We found so much to say, to share, to learn.... For it wasn't just the Marquis de Sade profile and the sporty thighs-and-calves that seduced me. It was even more, perhaps, or certainly just as much, the speed at which you used to read, and still do."—Julia Kristeva "We're married, Julia and I, that's a fact, but we each have our own personalities, our own name, activities, and freedom. Love is the full recognition of the other in their otherness. If this other is very close to you, as in this case, it seems to me that what's at stake is harmony within difference. The difference between men and women is irreducible; there's no possibility of fusion."—Philippe Sollers Marriage as a Fine Art is an enchanting series of exchanges in which Julia Kristeva and Philippe Sollers, married for fifty years, speak candidly about their love. Though they live separately, Kristeva and Sollers are fully committed to each other. Their bond is intellectual and psychological, passionate and mundane. They share everything when together, and lose themselves in their interests when apart. Their marriage is art, rich with history and meaning, idiosyncratic, and dynamic in its expression. Yet it is also as common as they come. Kristeva and Sollers have lived through the same challenges, peaks, and lulls as all married couples do. With humor and honesty, they elaborate on these moments, turning marriage's familiar aspects into exceptional examples of relating, struggling, transcending, and being. Marriage as a Fine Art is a rare chance to know these intellectuals—and marriage—more intimately.
In Revolution in Poetic Language, Julia Kristeva explicates her foundational distinction between the semiotic and the symbolic and explores their interrelationships. Linking the psychosomatic to the literary and the literary to a larger political horizon, she questions the premises of linguistic, psychoanalytic, philosophical, and literary theories.
Underlying Julia Kristeva's latest work is the idea that otherness - whether it be ethnic, religious, social, or political - needs to be understood and accepted in order to guarantee social harmony. Nations Without Nationalism is an impassioned plea for tolerance and for commonality, aimed at a world brimming over with racism and xenophobia. Responding to the rise of neo-Nazi groups in Germany and Eastern Europe and the continued popularity of the National Front in France, Kristeva turns to the origins of the nation-state to illustrate the problematic nature of nationalism and its complex configurations in subsequent centuries. For Kristeva, the key to commonality can be found in Montesquieu's esprit general - his notion of the social body as a guaranteed hierarchy of private rights. Nations Without Nationalism also contains Kristeva's thoughts on Harlem Desir, the founder of the antiracist organization SOS Racisme; the links between psychoanalysis and nationalism; the historical nature of French national identity; the relationship between esprit general and Volksgeist; Charles de Gaulle's complex ideas involving the "nation" and his dream of a unified Europe. In the tradition of Strangers to Ourselves, her most recent nonfiction work, Nations Without Nationalism reflects a passionate commitment to enlightenment and social justice. As ethnic strife persists in Europe and the United States, Kristeva's humanistic message carries with it a special resonance and urgency.
Renowned philosopher and cultural theorist Kristeva (Powers of Horror: An Essay on Abjection) offers an extended consideration of artistic figurations of the severed head, the organizing theme to an exhibition she coordinated at the Louvre in 1998. Though she follows a single historical trajectory, moving from Paleolithic skull cults to antique Greek sculpture to the Surrealist drawings, Kristeva eschews the disciplinary constraints of art history, instead employing psychoanalysis to explore the intertwined problems of representation and mortality posed by the severed head. For Kristeva, the capacity to figure the life of the mind first requires a confrontation with this horrific object that stands at the boundary between life and death, registering not only the loss of corporeal form but also subjective interiority. Though this book does not engage with recent images of decapitation, it is not without contemporary political-cultural import; for Kristeva, these cruel artistic figurations offer us the capacity to contemplate the sacred within a technology-driven contemporary visual culture. Verdict While a challenging text, this beautifully written and richly layered meditation on mortality and representation will undoubtedly appeal to those readers interested in semiotic and psychoanalytically informed readings of art.-Jonathan Patkowski, CUNY Graduate Ctr.(c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Julia Kristeva examines melancholia across art, literature, philosophy, the history of religion and culture, and psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression’s dark heart. Kristeva analyzes Holbein’s controversial 1522 painting The Body of the Dead Christ in the Tomb and considers the works of Marguerite Duras, Dostoyevsky, and Nerval. Black Sun takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated.
Wolves invade the seaside resort town of Santa Vavara in Eastern Europe, killing thousands of people, but no one will talk of it except a Latin professor known as the Old Man. Narrated by a French journalist. By the author of Desire in Language.
Desire in Language presents a selection of Julia Kristeva’s essays that trace the path of an investigation, extending over a period of ten years, into the semiotics of literature and the arts. Probing beyond the claims of Sigmund Freud, Jacques Lacan, and others, Kristeva proposes and tests theories centered on the nature and development of the novel, and on what she has defined as a signifying practice in poetic language and pictural works. Desire in Language fully shows what Roman Jakobson has called Kristeva’s “genuine gift of questioning generally adopted ‘axioms,’ and her contrary gift of releasing various ‘damned questions’ from their traditional question marks.”
Linguist, psychoanalyst, and cultural theorist, Julia Kristeva is one of the most influential and prolific thinkers of our time. Her writings have broken new ground in the study of the self, the mind, and the ways in which we communicate through language. Her work is unique in that it skillfully brings together psychoanalytic theory and clinical practice, literature, linguistics, and philosophy. In her latest book on the powers and limits of psychoanalysis, Kristeva focuses on an intriguing new dilemma. Freud and psychoanalysis taught us that rebellion is what guarantees our independence and our creative abilities. But in our contemporary "entertainment" culture, is rebellion still a viable option? Is it still possible to build and embrace a counterculture? For whom—and against what—and under what forms? Kristeva illustrates the advances and impasses of rebel culture through the experiences of three twentieth-century writers: the existentialist John Paul Sartre, the surrealist Louis Aragon, and the theorist Roland Barthes. For Kristeva the rebellions championed by these figures—especially the political and seemingly dogmatic political commitments of Aragon and Sartre—strike the post-Cold War reader with a mixture of fascination and rejection. These theorists, according to Kristeva, are involved in a revolution against accepted notions of identity—of one's relation to others. Kristeva places their accomplishments in the context of other revolutionary movements in art, literature, and politics. The book also offers an illuminating discussion of Freud's groundbreaking work on rebellion, focusing on the symbolic function of patricide in his Totem and Taboo and discussing his often neglected vision of language, and underscoring its complex connection to the revolutionary drive.
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.
This killer is murdering members of a dubious religious sect, the New Pantheon, and leaving a mysterious figure eight drawn on their corpses. Meanwhile, Sebastian Chrest-Jones, a noted professor of human migrations, clandestinely writing a novel about the Byzantine princess-historian Anna Comnena, disappears on a quest to learn more about an ancestor who roamed across Europe to Byzantium during the First Crusade. Kristeva's recurring characters, detective Northrop Rilsky and the French journalist Stephanie Delacour, step in and desperately try to piece together the two-part mystery in the midst of their unexpected love affair.".
The third book in Kristeva's trilogy on female genius, Colette interlaces commentary on the life and work of this notorious French novelist who made it possible for women to write erotic literature. The result is an elegant and sophisticated critique filled with psychoanalytic insight.
Mixing fiction, history, psychoanalysis, and personal fantasy, Teresa, My Love turns a past world into a modern marvel, following Sylvia Leclercq, a French psychoanalyst, academic, and incurable insomniac, as she falls for the sixteenth-century Saint Teresa of Avila and becomes consumed with charting her life. Traveling to Spain, Leclercq, Julia Kristeva's probing alter ego, visits the sites and embodiments of the famous mystic and awakens to her own desire for faith, connection, and rebellion. One of Kristeva's most passionate and transporting works, Teresa, My Love interchanges biography, autobiography, analysis, dramatic dialogue, musical scores, and images of paintings and sculpture to engage the reader in Leclercq's—and Kristeva's—journey. Born in 1515, Teresa of Avila outwitted the Spanish Inquisition and was a key reformer of the Carmelite Order. Her experience of ecstasy, which she intimately described in her writings, released her from her body and led to a complete realization of her consciousness, a state Kristeva explores in relation to present-day political failures, religious fundamentalism, and cultural malaise. Incorporating notes from her own psychoanalytic practice, as well as literary and philosophical references, Kristeva builds a fascinating dual diagnosis of contemporary society and the individual psyche while sharing unprecedented insights into her own character.
Passionate and promiscuous intellectual warriors - the "samurai" for whom "writing is the only lasting act of pleasure and war combined." Readers will instantly recognize finely sketched and often searing portraits of some of this century's most influential minds: Lacan, Derrida, Barthes, Althusser, and many others. With an authorial voice that modulates between the erotic and the meditative, the ironic and the rancorous, The Samurai moves from Paris to Mao's China.
In November 1996, Catherine ClA(c)ment and Julia Kristeva began a correspondence exploring the subject of the sacred. Their correspondence lead them to a controversial and fundamental question: is there anything sacred that can at the same time be considered strictly feminine? Although their discourse is not necessarily about theology, ClA(c)ment and Kristeva consider the role of women and femininity in the religions of the world, from Christianity and Judaism to Confucianism and African animism.
Julia Kristeva has been both attracted and repelled by Dostoyevsky since her youth. In this extraordinary book, by turns poetic and intensely personal, she brings her unique critical sensibility to bear on the tormented and visionary Russian author. Kristeva ranges widely across Dostoyevsky’s novels and his journalism, plunging deep into the great works—and many of the smaller ones—to investigate her fascination with the Russian author. What emerges is a luminous vision of the writer’s achievements, seen in a wholly new way through Kristeva’s distinctive perspective on language. With her keen psychoanalytical eye, she offers brilliant insights into the passionate heroines of the great novels. Focusing on Dostoyevsky’s polyphonic writing, Kristeva also demonstrates the importance of Orthodox Christianity throughout his body of work, analyzing the complex ways his carnivalesque theology informs his fiction and commentary. An original and profound interpretation of one of the nineteenth century’s greatest writers, this book’s insights are also relevant to the twentieth and twenty-first centuries—up to our unsettled present, to which Kristeva’s humane reading of the suffering Russian author brings understanding and even solace.
Kristeva explores the philosophical aspects of Hannah Arendt's work: her understanding of such concepts as language, self, body, political space, and life.
Growing up in Bulgaria, Julia Kristeva was warned by her father not to read Dostoyevsky. “Of course, and as usual,” she recalls, “I disobeyed paternal orders and plunged into Dosto. Dazzled, overwhelmed, engulfed.” Kristeva would go on to become one of the most important figures in European intellectual life—and she would return over and over again to Dostoyevsky, still haunted and enraptured by the force of his writing. In this book, Kristeva embarks on a wide-ranging and stimulating inquiry into Dostoyevsky’s work and the profound ways it has influenced her own thinking. Reading across his major novels and shorter works, Kristeva offers incandescent insights into the potent themes that draw her back to the Russian master: God, otherness, violence, eroticism, the mother, the father, language itself. Both personal and erudite, the book intermingles Kristeva’s analysis with her recollections of Dostoyevsky’s significance in different intellectual moments—the rediscovery of Bakhtin in the Thaw-era Eastern Bloc, the debates over poststructuralism in 1960s France, and today’s arguments about whether it can be said that “everything is permitted.” Brilliant and vivid, this is an essential book for admirers of both Kristeva and Dostoyevsky. It also features an illuminating foreword by Rowan Williams that reflects on the significance of Kristeva’s reading of Dostoyevsky for his own understanding of religious writing.
Born in 1515, Teresa of Avila survived the Spanish Inquisition and was a key reformer of the Carmelite Order. Her experience of ecstasy, which she intimately described in her writings, released her from her body and led to a complete realization of her consciousness, a state Julia Kristeva explores as it was expressed in Teresa's writing. Incorporating notes from her own psychoanalytic practice, as well as literary and philosophical references, Kristeva builds a fascinating dual diagnosis of contemporary society and the individual psyche while sharing unprecedented insights into her own character. Through her dazzlingly varied formats Kristeva tests the borderlines of atheism and the need for faith, feminism and the need for a benign patriarchy.
In the Palace of Versailles there is a fabulous golden clock, made for Louis XV by the king’s engineer, Claude-Siméon Passemant. The astronomical clock shows the phases of the moon and the movements of the planets, and it will tell time—hours, minutes, seconds, and even sixtieths of seconds—until the year 9999. Passemant’s clock brings the nature of time into sharp focus in Julia Kristeva’s intricate, poetic novel The Enchanted Clock. Nivi Delisle, a psychoanalyst and magazine editor, nearly drowns while swimming off the Île de Ré; the astrophysicist Theo Passemant fishes her out of the water. They become lovers. While Theo wonders if he is descended from the clockmaker Passemant, Nivi’s son Stan, who suffers from occasional comas, develops a passion for the remarkable clock at Versailles. Soon Nivi is fixated on its maker. But then the clock is stolen, and when a young writer for Nivi’s magazine mysteriously dies, the clock is found near his body. The Enchanted Clock combines past and present, jumping back and forth between points of view and across eras from eighteenth-century Versailles to the present day. Its stylistically inventive narrative voices bring both immediacy and depth to our understanding of consciousness. Nivi’s life resembles her creator’s in many respects, coloring Kristeva’s customary erudition with autobiographical poignancy. Part detective mystery, part historical fiction, The Enchanted Clock is a philosophically and linguistically multifaceted novel, full of poetic ruminations on memory, love, and the transcendence of linear time. It is one of the most illuminating works of one of France’s great writers and thinkers.
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