European Perspectives: A Series in Social Thought and Cultural Criticism
14 total works
In November 1996, Catherine Clement and Julia Kristeva began a correspondence exploring the subject of the sacred. In this collection of those letters Catherine Clement approaches the topic from an anthropologist's point of view while Julia Kristeva responds from a psychoanalytic perspective. Their correspondence leads them to a controversial and fundamental question: is there anything sacred that can at the same time be considered strictly feminine? The two voices of the book work in tandem, fleshing out ideas and blending together into a melody of experience. The result is a dialogue that delves into the mysteries of belief -- the relationship between faith and sexuality, the body and the senses -- which, Clement and Kristeva argue, women feel with special intensity. Although their discourse is not necessarily about theology, the authors consider the role of women and femininity in the religions of the world, from Christianity and Judaism to Confucianism and African animism. They are the first to admit that what they have undertaken is "as impossible to accomplish as it is fascinating."
Nevertheless, their wide-ranging and exhilarating dialogue succeeds in raising questions that are perhaps more important to ask than to answer.
Nevertheless, their wide-ranging and exhilarating dialogue succeeds in raising questions that are perhaps more important to ask than to answer.
Julia Kristeva refracts the impulse to hate (and our attempts to subvert, sublimate, and otherwise process it) through psychoanalysis and text, exploring worlds, women, religion, portraits, and the act of writing. Her inquiry spans themes, topics, and figures central to her writing, and her paths of discovery advance the theoretical innovations that are so characteristic of her thought. Kristeva rearticulates and extends her analysis of language, abjection, idealization, female sexuality, love, and forgiveness. She examines the "maladies of the soul," utilizing examples from her practice and the ailments of her patients, such as fatigue, irritability, and general malaise. She sources the Bible and texts by Marguerite Duras, St. Teresa of Avila, Roland Barthes, Simone de Beauvoir, and Georgia O'Keefe. Balancing political calamity and individual pathology, she addresses internal and external catastrophes and global and personal injuries, confronting the nature of depression, obliviousness, fear, and the agony of being and nothingness.
Throughout Kristeva develops the notion that psychoanalysis is the key to serenity, with its processes of turning back, looking back, investigating the self, and refashioning psychical damage into something useful and beautiful. Constant questioning, Kristeva contends, is essential to achieving the coming to terms we all seek at the core of forgiveness.
Throughout Kristeva develops the notion that psychoanalysis is the key to serenity, with its processes of turning back, looking back, investigating the self, and refashioning psychical damage into something useful and beautiful. Constant questioning, Kristeva contends, is essential to achieving the coming to terms we all seek at the core of forgiveness.
In this volume, based on the series of Alexander Lectures she delivered at the University of Toronto, Julia Kristeva explores the philosophical aspects of Hannah Arendt's work: her understanding of such concepts as language, self, body, political space, and life. Kristeva's aim is to clarify contradictions in Arendt's thought as well as correct misapprehensions about her political and philosophical views. The first two chapters describe how Arendt followed an original conception of human narrative, such that life, action, and even thought, are only human when they can be narrated and thus shared with other persons who, through the evocation of memory, complete the story and make history into a condensed sign, into a revelation of the 'who.' The third chapter concentrates on Arendt's work in relation to her twentieth-century contemporaries, especially Isak Dinesen, Brecht, Kafka, and Nathalie Sarraute.
In the last two chapters, on the body and the Kantian concept of judgment, Kristeva offers a subtle critical exploration of Arendt's ignoring of the world of the unconscious opened up by psychoanalysis, an exploration that, paradoxically, reveals the political force of Arendt's acceptance of herself as woman and Jew. Kristeva's account of Arendt's 'philosophy of narrative' is clear, coherent, forceful, and often impassioned. Much has been written in North America about Arendt's political work, but little about her more philosophical endeavours. Hannah Arendt: Life Is a Narrative makes a compelling case that Arendt may be the twentieth century's only true political philosopher.
In the last two chapters, on the body and the Kantian concept of judgment, Kristeva offers a subtle critical exploration of Arendt's ignoring of the world of the unconscious opened up by psychoanalysis, an exploration that, paradoxically, reveals the political force of Arendt's acceptance of herself as woman and Jew. Kristeva's account of Arendt's 'philosophy of narrative' is clear, coherent, forceful, and often impassioned. Much has been written in North America about Arendt's political work, but little about her more philosophical endeavours. Hannah Arendt: Life Is a Narrative makes a compelling case that Arendt may be the twentieth century's only true political philosopher.
Informed by a provocative exhibition at the Louvre curated by the author, The Severed Head unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work--the power of horror--and the potential for the face to provide an experience of the sacred.
Kristeva considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon (a holy relic in which the face of a saint appears on a piece of cloth); the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction.
Kristeva considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon (a holy relic in which the face of a saint appears on a piece of cloth); the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction.
This is a study of the stranger, both as a deep personal sense of self as distinct from that being known to outsiders, and as the foreigner, an alien in a different country or society not his or her own. The work covers the fields of literature and philosophy - from Greek tragedy and the Bible, through the literature of the Middle Ages, the Renaissance (Dante, Machiavelli, Rabelais, Thomas More and Montaigne), the Enlightenment (Montesquieu, Diderot and Paine) to the 20th century in the form of Camus and Nabakov. The author also discusses the legal status of foreigners throughout history and uses the history of their treatment to offer a perspective on our own civilization.
Published on the fiftieth anniversary of her death, this intellectual biography of Colette-the final volume of Julia Kristeva's trilogy "Female Genius"-will be considered a major breakthrough in understanding one of the great creative minds of the twentieth century. Colette (1873-1954) was a prolific novelist who celebrated sexual pleasure and invented a language for it at a time when women writers were inhibited about dealing with the topic. Female sexuality in a male-dominated world and the joys and pains of love served as her main themes, and her novels-Cheri, La Chatte, and Gigi, among them-blurred the boundaries between fact and fiction long before autobiographical novels became commonplace. She married three times, had male and female lovers, and for a time supported herself as a mime, dancing semi-nude in music halls throughout France. When she died, she received the first state funeral the French Republic had ever given a woman. Colette's writing was inspired by entertainers, courtesans, an aristocratic Parisian lesbian subculture, and fin de siecle gay aesthetes.
She admired those who lived on the sexual edge and was accused of moral corruption in intellectual matters-she published in pro-Vichy, anti-Semitic journals during the Occupation, even as she fought to keep her Jewish third husband from deportation. Kristeva deftly examines Colette's controversial life and work and considers two of her most important influences, Honore de Balzac and Marcel Proust. In a multifaceted approach, Kristeva considers Colette's use of metaphor, the characters in her novels, and the development of her writing within the context of her life. Paying particular attention to the language the French writer used to "say the unsayable and name the unnameable," Kristeva offers an elegant and sophisticated critique of Colette's psychological conflicts, particularly her sexual relationships and how these conflicts are both recorded in and resolved through the act of writing. Appealing to Freudian and Lacanian concepts such as the Oedipus complex, perversion, the symbolic, and melancholy, Kristeva opens Colette's oeuvre to psychoanalytic interpretation.
The impression that remains is of a woman intent on experiencing the world's pleasures-its jouissance-in a melding with the world's flesh.
She admired those who lived on the sexual edge and was accused of moral corruption in intellectual matters-she published in pro-Vichy, anti-Semitic journals during the Occupation, even as she fought to keep her Jewish third husband from deportation. Kristeva deftly examines Colette's controversial life and work and considers two of her most important influences, Honore de Balzac and Marcel Proust. In a multifaceted approach, Kristeva considers Colette's use of metaphor, the characters in her novels, and the development of her writing within the context of her life. Paying particular attention to the language the French writer used to "say the unsayable and name the unnameable," Kristeva offers an elegant and sophisticated critique of Colette's psychological conflicts, particularly her sexual relationships and how these conflicts are both recorded in and resolved through the act of writing. Appealing to Freudian and Lacanian concepts such as the Oedipus complex, perversion, the symbolic, and melancholy, Kristeva opens Colette's oeuvre to psychoanalytic interpretation.
The impression that remains is of a woman intent on experiencing the world's pleasures-its jouissance-in a melding with the world's flesh.
"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"& mdash;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, especially those of Islamic origin. 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.
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"& mdash;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, especially those of Islamic origin. 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.
To the renowned psychoanalyst, philosopher, and linguist Julia Kristeva, Melanie Klein (1882-1960) was the most original innovator, male or female, in the psychoanalytic arena. Klein pioneered psychoanalytic practice with children and made major contributions to our understanding of both psychosis and autism. Along the way, she successfully introduced a new approach to the theory of the unconscious without abandoning the principles set forth by Freud. In her first biography of a fellow psychoanalyst, the prolific Kristeva considers Klein's life and intellectual development, weaving a narrative that covers the history of psychoanalysis and illuminates Kristeva's own life and work. Kristeva tells the remarkable story of Klein's life: an unhappy wife and mother who underwent analysis, and-without a medical or other advanced degree-became an analyst herself at the age of 40. In examining her work, Kristeva proposes that Klein's "break" with Freud was really an attempt to complete his theory of the unconscious. Kristeva addresses Klein's numerous critics, and, in doing so, bridges the wide gulf between the clinical and theoretical worlds of psychoanalysis.
Klein is celebrated here as the first person to see the mother as the source of not only creativity, but of thought itself, and the first to consider the place of matricide in psychic development. As such, Klein is a seminal figure in the evolution of the provocative ideas about motherhood and the psyche for which Kristeva is most famous. Klein is thus, in a sense, a mother to Kristeva, making this book an account of the development of Kristeva's own thought as well as Klein's.
Klein is celebrated here as the first person to see the mother as the source of not only creativity, but of thought itself, and the first to consider the place of matricide in psychic development. As such, Klein is a seminal figure in the evolution of the provocative ideas about motherhood and the psyche for which Kristeva is most famous. Klein is thus, in a sense, a mother to Kristeva, making this book an account of the development of Kristeva's own thought as well as Klein's.
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.
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.
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.
A collection of twenty-two interviews and one personal essay, Julia Kristeva Interviews presents an intimate and accessible portrait of one of France's most important critical thinkers and intellectual personalities.
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 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."
The collection begins with 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."
Kristeva points to Montesquieu's esprit general -- his notion of the social body as a guaranteed hierarchy of private rights -- in this humanistic plea for tolerance and commonality.
"These days, who still has a soul?" asks Julia Kristeva in this psychoanalytic exploration. Drawing on her many years of experience as a practicing psychoanalyst, Kristeva reveals to readers a new kind of patient, symptomatic of an age of political upheaval, mass mediated culture, and the dramatic overhaul of familial and sexual mores. New Maladies of the Soul poses a troubling question about the human subject in the West today: Is the psychic space that we have traditionally known disappearing?
Kristeva finds that the psychoanalytic models of Freud and Lacan need to be reread in light of this new patient, a product of the contemporary moral crisis of values resulting from a loss of ideology and a deterioration of belief. By revisiting Freud and Lacan, Kristeva offers the hope of a new psychoanalysis. Each patient, she contends, suffers from a unique malady which must be targeted. In the first half of the book, Kristeva offers a series of detailed case studies that reinforce her provocative theoretical notions. These case studies illustrate today's "new maladies"—common psychiatric disturbances as they are manifested in today's patient. Drawing on the work of the psychologist Helene Deutsch and the writer Germaine de Stael. Kristeva turns her attention to women's experiences and contributions. 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. Kristeva offers the hope that these maladies harbor new creative potential and new hope for the soul—if we can comprehend their effect on the individual and collective experiences of our time.
Kristeva finds that the psychoanalytic models of Freud and Lacan need to be reread in light of this new patient, a product of the contemporary moral crisis of values resulting from a loss of ideology and a deterioration of belief. By revisiting Freud and Lacan, Kristeva offers the hope of a new psychoanalysis. Each patient, she contends, suffers from a unique malady which must be targeted. In the first half of the book, Kristeva offers a series of detailed case studies that reinforce her provocative theoretical notions. These case studies illustrate today's "new maladies"—common psychiatric disturbances as they are manifested in today's patient. Drawing on the work of the psychologist Helene Deutsch and the writer Germaine de Stael. Kristeva turns her attention to women's experiences and contributions. 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. Kristeva offers the hope that these maladies harbor new creative potential and new hope for the soul—if we can comprehend their effect on the individual and collective experiences of our time.