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Julia Kristeva's blend of the literary with the psychoanalytic places her work central to current thinking, from semiotics and critical theory to feminism and psychoanalysis. Her profound understanding of the dynamics of intention and creativity mark her out as one of the leading theoreticians of desire. Each essay in this volume offers new insight into the many aspects that make up Kristeva's thought, ranging from her analyses of sexual difference, female temporality and the perceptions of the body to the mental states of abjection and melancholia, and their representation in painting and literature.
This study explores the premise that the experience of being "born from above" in John's Gospel can be seen as mirroring the development of human subjectivity, particularly as understood through the psychoanalytic work of Julia Kristeva. It draws specifically on Kristeva's theory of how the human self/subject takes shape in infancy, her contention that subjectivity is a work in progress, and her insistence on abjection as a catalyst for developing selfhood. Examining the story of Mary of Bethany (as narrated in John 11-12) through this lens, this analysis seeks to better understand the concept of new birth and how it relates to being fully human.
Dotyczy twórczości Josepha Conrada (Teodora Józefa Konrada Korzeniowskiego).
Anne-Marie Smith’s concise introductory study examines Kristeva in the light of her contemporary activity as writer, teacher and psychoanalyst.
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.
These original essays explore how the concept of revolution permeates and unifies Julia Kristeva's body of work by tracing its trajectory from her early engagement with the Tel Quel group, through her preoccupation in the 1980s with abjection, melancholia, and love, to her latest work. Some of the leading voices in Kristeva scholarship examine her reevaluation of the concept of revolt in the context of the changing cultural and political conditions in the West; the questions of the stranger, race, and nation; her reflections on narrative, public spaces, and collectivity in the context of her engagement with Hannah Arendt's work; her development and refinement of the notions of abjection, melancholia, and narcissism in her ongoing interrogation of aesthetics; as well as her contribution to film theory. Focused primarily on Kristeva's newest work—much of it only recently translated into English—this book breaks new ground in Kristeva scholarship.
The Abject of Desire approaches the aestheticization of the unaesthetic via a range of different topics and genres in twentieth-century Anglophone literature and culture. The "experience of disgust", which Winfried Menninghaus describes as "an acute crisis of self-preservation", is correlated with conceptualizations of gender in theories of the abject/abjection. In view of this general crisis of identity in the experience of disgust, the contributions to this volume discuss examples of the aestheticization of the unaesthetic in cultural representations and locate conceptual (re)codings of the body, gender, and identity with regard to the abject as an immediate and uncompromising experience on the one hand, and a social and political phenomenon on the other. Considering a variety of cultural narratives by writers as diverse as Samuel Delany, Sarah Schulman, Joyce Carol Oates, Leslie Marmon Silko, Paul Magrs, J. G. Ballard, Stevie Smith, T. C. Boyle, Joseph Conrad, Poppy Z. Brite, and Will Self, by film directors John Waters and Peter Greenaway, playwrights Girish Karnad and Mahesh Dattani, and "body artist" Gunter von Hagens, the contributors to this volume scrutinize different implications of the ambivalent concept of the abject/abjection.
Since the time of Freud, some of the most radical innovators within critical theory have stressed the importance of the body and its representation to the constitution of subjectivity. This book explores some of the theoretical debates surrounding the body, and assesses its value as a critical concept, through an analysis of the body’s representation both in Welsh literary texts in English, and discourse about Wales more generally. Combining psychoanalytic with more culturally orientated approaches to the body, the book offers an historically informed account of the body that analyses its role in the construction and contestation of identity at a cultural as well as individual level, contributing in a new and radical way to the rapidly expanding critical literature concerned with exploring the construction of identity in a Welsh cultural context.
The earliest known literary productions by women living in Europe were probably written by French writers. As early as the 12th century, women troubadours in the south of France were writing poems. French women continued writing through the ages, their number increasing as education became more available to women of all classes. And yet, of the great number of works by women writers who preceded the current feminist movement, very few have survived. A few writers such as Marie de France, George Sand, and Simone de Beauvoir became part of the canon. But critics, mostly male, had judged the works of only a few women writers worthy of recognition. As part of the feminist move to reclaim women writers and to rethink literary history, scholars in French literature began to take a new look at women writers who had been popular during their lifetimes but who had not been admitted into the canon. This reference book provides extensive information about French women writers and the world in which they lived. Included are several hundred alphabetically arranged entries for authors; literary genres, such as the novel, poetry, and the short story; literary movements, such as classicism, realism, and surrealism; life-cycle events particular to women, such as menstruation and menopause; events and institutions which affected women differently than men, such as revolutions, wars, and laws on marriage, divorce, and education. The volume spans French literature from the Middle Ages to the present and covers those writers who lived and worked mainly in France. The entries are written by expert contributors and each includes bibliographical information. The entries focus on each writer's awareness of how her gender shaped her outlook and opportunities, on how categorizations, structures, and terms used to describe literary works have been defined for women, and the ways in which women writers have responded to these definitions. The volume begins with a feminist history of French literature and concludes with a selected, general bibliography and a chronology of women writers.
The contemporary study of Australian literature ranges widely across issues of general cultural studies, the politics of identity (both ethnic and gendered), and the position of Australia within wider postcolonial contexts. This volume intervenes in the most significant of issues in these areas from a variety of international perspectives.