Julia Kristeva's Bibliography

[This information was contributed by Kelly Oliver.]

FRENCH BOOKS

1. Le feminin et le sacre. Co-authored with Catherine Clément. Paris: Stock, 1998.
2. Le temps sensible: Proust et l'expérience littéraire, Paris: Gallimard, 1994.
3. Les Nouvelles maladies de l'ame, Paris: Libraire Artheme Fayard, 1993.
4. Soleil noir: Depression et mélancolie, Paris: Gallimard, 1987.
5. Histoires d'amour, Edtions Denoël: Paris, 1983.
6. Pouvoirs de l'horreur, Paris: Seuil, 1980.
7. Polylogue, Paris: Seuil, 1977.
8. La Révolution du langage poétique, Paris: Seuil, 1974.

BOOKS IN ENGLISH TRANSLATION

1. Time and Sense: Proust and the Experience of Literature, Trans. by Ross Guberman, New York: Columbia University Press, 1996.
2. New Maladies of the Soul Trans. by Ross Guberman, New York: Columbia University Press, 1995.
3. Black Sun Trans. by Leon Roudiez, New York: Columbia University Press, 1989.
4. Tales of Love Trans. by Leon Roudiez, New York: Columbia University Press, 1987.
5. Revolution in Poetic Language, Trans. by Margaret Waller, New York: Columbia University Press, 1984.
6. Powers of Horror, Trans. by Leon Roudiez, New York: Columbia University Press, 1982.
7. Desire in Language, Edited by Leon Roudiez, New York: Columbia University Press, 1980.

ARTICLES

• "A New Type of Intellectual: The Dissident," in The Kristeva Reader, Edited by Toril Moi, New York: Columbia University Press, 1986; originally published in 1977.
• "Julia Kristeva in conversation with Rosiland Coward," Desire, ICA Documents, 1984, p. 22-27.

Secondary Sources

• de Nooy, Juliana. Derrida, Kristeva, and the Dividing Line: An Articulation of Two Theories of Difference. Garland, 1998.
• Huntington, Patricia. Ecstatic Subjects, Utopia and Recognition: Kristeva, Heidegger, Irigaray.
• Julia Kristeva 1966-96: Aesthetics, Politics, Ethics. (special issue of the journal Parallax out of the University of Leeds, UK) 1998.
• Lechte, John and Mary Zournazi, ed. After the Revolution: On Kristeva. 1998. ISBN 1-876017-37-6.
• O'Grady, Kathleen, ed. Julia Kristeva: A Bibliography of Primary and Secondary Sources in French and English: 1966-1996. 1997.
• Oliver, Kelly, ed. Ethics, Politics, and Difference in Julia Kristeva's Writings. 1993.
• Oliver, Kelly. "Julia Kristeva's Feminist Revolutions," Hypatia a journal of feminist philosophy, 8:3, summer 1993, p. 94-114.
• Oliver, Kelly, ed. The Portable Kristeva. 1997.
• Oliver, Kelly. Reading Kristeva: Unraveling the Double-Bind. 1993.
• Reineke, Martha J. Sacrificed Lives: Kristeva on Women and Violence. 1997.
• Smith, Anna. Julia Kristeva: Readings of Exile and Estrangement. 1997.
• Smith, Anne-Marie. Julia Kristeva: Speaking the Unspeakable. Pluto Press, 1998.
  

Internet Sites

[Note: Some of this information was contributed by David Polan.]
http://www.stfx.ca/people/mmoynagh/445/more-445/Concepts/krist_sub.html or click here.
http://www.n2h2.com/KOVACS/CD/2884.html or click here.
http://english.ttu.edu/kairos/1.2/features/eyman/julia.html or click here.
http://pilot.msu.edu/user/chrenkal/980/INTERTEX.HTM or click here.
You can reach the Julia Kristeva page on the Voice of the Shuttle website at: http://www.humanitas.ucsb.edu/shuttle/gender.html#kristeva or click here.

Julia Kristeva's Profile (4)

Introduction to Julia Kristeva

Julia Kristeva (b. Bulgaria, 1941-): psychoanalyst, linguist, semiotician, novelist, and rhetorician

• 1965 - emigrated to Paris for doctoral studies. joined 'Tel Quel group' eventually marrying its head, Philippe Sollers.
• 1968 - involved in leftist French politics, publishing in Tel Quel.
• 1970 - part of Tel Quel's editorial board, attended Lacan seminars.
• 1973 - state doctorate in Paris, thesis published as Revolution in Poetic Language (1984).
• 1974 - University of Paris, chair of linguistics and visiting appointments at Columbia University.
• 1979 - begin psychoanalytic career.
• 1990 - novel, Les Samourais, published.

Kristeva Glossary

• symbolic - the domain of position and judgment, chronologically follows semiotic (post-Oedipal), is the establishment of a sign system, always present, historical time (linear), and creates repressed writing.
• semiotic - the science of signs (that which creates the need for symbolic),cyclical through time, pre-Oedipal, and creates unrepressed writing. Exists in children before language acquisition and has significance.
• semanalysis - word coined by Kristeva to differentiate her type of linguistic analysis which is a dissolving of the sign through critical analysis, avoids the text designing its own limits, and stresses the heterogeneity of language rather than homogeneity of conventional linguistic model.
• intertextuality - also a term which originates in Kristeva's work, used to designate the transposition of one or more systems of signs on to another which is accompanied by a new enunciative and denotative position.
• jouissance - total joy or ecstacy achieved through the working of the signifier implying the presence of meaning.
• (fear - mark of the failure of language to provide symbolization.)
• other - what exists as opposite of, or excluded by, something else.
• Other - a hypothetical space or place which is that of the pure
• signifier, rather than a physical entity.
• chora - a Platonic term for a matrixlike space that is nourishing, unnameable, and prior to the individual. Chora becomes the focus of the semiotic as the 'pre-symbolic.'

General philosophy

• writings have gone from macrocosmic to microcosmic to fiction.
• never privledges either semiotic or symbolic, but strives for equilibrium.
• all are under the desire to return to period of preseparation.

Writing the body

• the body is outside the domain of sign and appears as trace writing.
• semiotic, pre-language self displayed through words outside symbolic definitions.
• is feminine (semiotic is feminine for Kristeva) but is available to the masculine.

Poetic language

• distinct from language used for ordinary communication, an otherness of language.
• it embodies contradiction, life and death, being and non-being, good and evil can exist simultaneously in a text.
• is the movement between: the real and the non-real.
• transcends the laws of logic presenting itself as the production of meaning.

"Women's Time" - Kristeva's brand of feminism

"Thanks to the stamp of feminism, do we not sell many books whose naive whining or commercialized romanticism would normally be scoffed at? . . . However questionable the results of women's artistic productions may be, the symptom has been made clear: women are writing. And we are eagerly awaiting to find out what new material they will offer us."

• first and second generation feminists and the resulting violence.
• Freud defended and defined.
• anti-motherhood attitude is alienating.
• childbirth creates child as symbolic phallus, so that motherhood can be a normalizing and fulfilling experience.
• create child or literature.
• desexualization, 'I' as attacker and as victim.
• Return to religion, community for sake of singularity.

Kristeva and Rhetoric

• analysis of the rhetoric in art and poetry.
• Semiotic discussions as possible link to pre-genre study.

Primary Bibliography (translated material)

Kristeva, Julia. About Chinese Women. Trans. Anita Barrow. New York: Marion Boyars, 1977.

- - -. Black Sun: Depression and Melancholy. Trans. Leon Roudiez. New York: Columbia UP, 1989.

- - -. Desire in Language: A Semiotic Approach to Literature and Art. Ed. Leon Roudiez. Trans. Thomas Gora, Alice Jardine, Leon Roudiez. New York: Columbia UP, 1980.

- - -. In the Beginning was Love: Psychoanalysis and Faith. Trans. Arthur Goldhammer. New York: Columbia UP, 1987.

- - -. New Maladies of the Soul. Trans. Ross Guberman. New York: Columbia UP, 1995.

- - -. Powers of Horror: An Essay on Abjection. Trans. Leon Roudiez. New York: Columbia UP, 1982.

- - -. Revolution in Poetic Language. Trans. Margaret Waller. New York: Columbia UP, 1984.

- - -. Strangers to Ourselves. Trans. Leon Roudiez. New York: Columbia UP, 1991.

- - -. Tales of Love. Trans. Leon Roudiez. New York: Columbia UP, 1987.

Moi, Toril, ed. The Kristeva Reader. New York: Columbia UP, 1986.

Secondary Bibliography

Caws, Mary Ann. "Tel Quel: Text and Revolution." Diacritics 3.1 (1973): 2-8.

Clark, Suzanne and Kathleen Hulley. "An Interview with Julia Kristeva: Cultural Strangeness and the Subject in Crisis." Discourse: A Review of the Liberal Arts, Vol. 13, No. 1, Fall-Winter, 1990-91, pp. 149-80.

Fletcher, John and Andrew Benjamin, eds. Abjection, Melancholia, and Love: The Work of Julia Kristeva. London and New York: Routledge, 1990.

Lechte, John. Julia Kristeva. London and New York: Routledge, 1990.

Phillips, Adam. "What is there to Lose?" London Review of Books, Vol. 12, No. 10, May 24, 1990, p. 6-8.

Steiner, Wendy. "The Bulldozer of Desire." The New York Times Book Review, November 15, 1992, pp. 9, 11.

:: Presented by Alice Kelsey in English 510, 5 August 1996

Julia Kristeva's Profile (3)

Julia Kristeva was born in Bulgaria in 1942. At the age of 23, she moved to Paris and has lived there ever since. Her original interests were in language and linguistics, and she was influenced by her contemporaries Lucian Goldmann, and Roland Barthes. She also studied Freudian and Lacanian psychoanalysis, and like her mentors, she began to work both as an analyst and an academic. She joined the 'Tel Quel group' in 1965, where she met her future husband, Phillipe Sollers, and became an active member of the group, focusing on the politics of language. The Tel Quel group worked with the notion of history as a text for interpretation and its writing as an act of politicized production rather than an attempt to make an objective reproduction. Kristeva's articles began to appear in publications by Tel Quel and the journal Critique in 1967, and in 1970 she joined the editorial board. Her research in linguistics, including her interest in Lacan's seminars during the same year, manifested in the publication of Le Texte Du Roman (1970), Séméiotiké: Recherches pour une sémanalyse (1969), and subsequently, La Revolution du langage poetique (her doctoral thesis) in 1974. The latter publication led to her accepting of chair of linguistics at the University of Paris, and a series of guest appointments at Columbia University in New York.

Kristeva's unique background, a "foreign" woman working in the predominantly male intellectual circles of France, drives the strategies of her work in semiotics and her interest in the politics of marginality. In accordance with her thinking, she produces both fictional and academic texts. Her interest is in discourses that resist rigid and one-dimensional logic and instead engage in an ongoing process of writing the struggle with the impasse of language. She prefers to analyze, to think language against itself, by its fracturing and multiplication of texts, while taking the figure of negativity into account.

In addition, Kristeva's experiences in Communist Bulgaria provide her an intimate understanding of Marxism and the work of the Russian Formalists such as Mikhail Bakhtin (whose work she is accredited with introducing to the West). Developing Hegel's concept of negativity in conjunction with these ideas and those of her teachers and peers, she produced an influential critique and following shift from Structuralist to Poststructuralist thought. Her particular focus is a process-oriented reading of the sign.

Such a process for Kristeva is concerned with bringing the speaking body back into Phenomenology and linguistics. In opposition to theories in structuralist linguistics that she feels are "nothing more than the thoughts of archivists, archaeologists, and necrophiliacs" she develops a new science, "semanalysis," that connects the body, complete with its drives, back into language from where she believes the logic of signification is already present. In this process she elaborates on the Lacanian idea of the mirror stage and the formation of a separation, a lack, from the (m)other that forms signification as a movement from need (demand) into desire. It is an ongoing process of completion through the symbolic castration of the subject. Here, Kristeva is critical of Lacan's overlooking of processes that take place before the mirror stage.

Kristeva's elaboration on the model of Lacan involves a distinction between the "semiotic" and "semiotics" as a field of study in linguistics, and a further distinction between two heterogeneous types of signification in language, the semiotic and the symbolic. The semiotic exists within the signifying process, it is a discharge of the drives within language that manifests in the rhythm and tone of the text (and the speech of the subject). It refers to an element in symbolic language that does not signify, the bits of psychic and bodily energies (partial drives) that are less precise but nonetheless "speak" of the phenomena of embodied significations through language and their inherent limits. The symbolic is the rule-governed element of language, grammar and syntax, that makes reference and therefore judgment at all possible, the element of meaning associated with the very forces of grammar and syntax.

Kristeva became more interested in psychoanalysis and completed her training in 1979. Her work intensified around the formation of identity and the role abjection and Otherness play in the process. Her writings of the 1980's include transcripts from her practice as an analyst, such as Tales of Love (1983) and Black Sun (1987). Her 1982 publication, Powers of Horror: An Essay in Abjection, describes the pre-mirror stage development of the child's entry into the Law of the father as Lacan theorized. For Kristeva, birth itself is a separation within the body, a violent separation from the body of the mother. In the maternal body, excess gives rise to a separation that is material and maintained by a regulation (regarding availability of the breast) that is prior to the mirror stage. The maternal regulation operates as a law, prefiguring and providing the grounds of paternal Law as the entry of the child into language and society.

Kristeva's writings maintain this logic of an oscillation between symbolic identity and semiotic rejection or the experience of difference. Revolution in Poetic Language and Powers of Horror are focused on material maternal rejection, which prefigures signification and sets up the logic of rejection. Tales of Love (trans.1987) and Black Sun: Depression and Melancholy (trans.1989) are focused on primary narcissism, which prefigures all subsequent identity and sets up the logic of repetition. Strangers to Ourselves (1989) and Lettre ouverte ý Harlem Désir (1990) are focused on rejection or difference within identity. In recognition of her contribution to French intellectual culture, she was honored by the French government in 1990 and made a "chevalier de l'ordre des arts et des lettres." [source]

Julia Kristeva's Profile (2)

Julia Kristeva, a professor and psychoanalyst, was raised in communist Bulgaria. At the age of 25 she left for Paris with a doctoral research fellowship in hand. By1967 her articles were already appearing in the most prestigious reviews, Critique and Tel Quel. Her linguistic research led to the publication of two books, du Le texte roman and Semeiotike, and ultimately to her doctoral thesis, La Revolution du langage poetique, in 1974.

The Tel Quel Group in China in 1974

Kristeva met and worked with the most important figures of structuralism in Paris with her most important teacher being Roland Barthes. Barthes states of Kristeva:

"Kristeva changes the order of things: she always destroys the latest preconception, the one we thought we could be comforted by, the one of which we could be proud: what she desplaces is the already-said, that is to say , the insistence of the signified: what she suvbverts is the authority of monologic science and of filiation" (La Quinzaine Litteraire 19).

She inspired her teachers right from the start because of her unique intellectual background. Her Eastern European training with a solid background in Marxist theory and fluent Russian enabled her to acquire first-hand knowledge of the Russian Formalists and, more inportantly, societ theorist Mikhail Bakhtin, whose work she was instrumental in introducing to the Western world. With a Marxist, Formalist, and adaptive form of the Hegelian concept of negativity context, she had the confidence to not only learn from those she encountered in Paris but to utilize them and transform them for her particular project to take up a critical position towards structuralism. A focal point of her position is her process-oriented view of the sign. Her semiotic theory "demonstrates precisely her radical attack on the rigid, scientistic pretensions of a certain kind of structuralism, as well as on the subjectivist and empiricist categories of the traditional humanism."

Her communist Bulgarian upbringing, unique intellectual surroundings in France, position as a foreigner and a woman in a male-dominated environment gave shape and impetuous for her work in semiotics. While not considered a feminist, Kristeva's main concerns are with the politics of marginality and against all monologic discourse, with the desire to produce a discourse which always confronts (and is thus in process all the time), the impasse of language, and moves to think language against itself.

Julia Kristeva feels that instead of accepting consensual ideology and moralizing, we need to adopt an "analytic, relentless position" that takes negativity into account. She also challenges "writers" instead of intellectuals to reinvent the political realm. Kristeva, unlike many others, practices her theories. In her non-fiction and fiction she fractures language and conventions and interacts with multiple texts. [source]

Julia Kristeva's Profile

Roland Barthes (Kristeva's Teacher) wrote: "Julia Kristeva changes the order of things: she always destroys the latest preconception, the one we thought we could be comforted by, the one of which we could be proud: what she displaces is the already-said, that is to say, the insistence of the signified; what she subverts is the authority of monologic science and of filiation."

Julia Kristeva who was born on 24 June 1941 is a Bulgarian-French philosopher, literary critic, psychoanalyst, feminist, and, most recently, novelist, who has lived in France since the mid-1960s.

Kristeva has become influential in today's critical analysis and cultural theory after publishing her first book Semeiotikè in 1969. Her immense body of work includes books, essays and preface publications of architectural importance, which include the notions of intertextuality, the semiotic, and abjection, for the fields of linguistics, literary theory and criticism, psychoanalysis, biography and autobiography, political and cultural analysis, art and art history.

Together with Barthes, Todorov, Goldmann, Genette, Lévi-Strauss, Lacan, Greimas, Foucault, and Althusser, she stands as one of the forefront structuralists, in that time when structuralism took major place in humanities. Her works also have an important place in post-structuralist thought.

These are some links would might help you in understanding Julia Kristeva works.

• State University of New York at Stony Brook
• Tate Britain Online Event: Julia Kristeva
• Who's who in Les samouraïs
• An Interview with Josefina Ayerza - Flash Art Magazine
• Guardian article: March 14, 2006
• http://www.kristeva.fr
• http://kristeva.blogs.com/