Julia Kristeva (French: [kʁisteva]; Bulgarian:
Юлия Кръстева; born 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.
She is now a professor emeritus at the University
Paris Diderot.
The author of more than 30 books, including
Powers of Horror, Tales of Love, Black Sun:
Depression and Melancholia, Proust and the
Sense of Time, and the trilogy Female Genius,
she has been awarded Commander of the Legion
of Honor, Commander of the Order of Merit,
the Holberg International Memorial Prize,
the Hannah Arendt Prize, and the Vision 97
Foundation Prize, awarded by the Havel Foundation.
Kristeva became influential in international
critical analysis, cultural studies and feminism
after publishing her first book, Semeiotikè,
in 1969.
Her sizeable body of work includes books and
essays which address intertextuality, the
semiotic, and abjection, in the fields of
linguistics, literary theory and criticism,
psychoanalysis, biography and autobiography,
political and cultural analysis, art and art
history.
She is prominent in structuralist and poststructuralist
thought.
Kristeva is also the founder of the Simone
de Beauvoir Prize committee.
== Life ==
Born in Sliven, Bulgaria to Christian parents,
Kristeva is the daughter of a church accountant.
Kristeva and her sister attended a Francophone
school run by Dominican nuns.
Kristeva became acquainted with the work of
Mikhail Bakhtin at this time in Bulgaria.
Kristeva went on to study at the University
of Sofia, and while a postgraduate there obtained
a research fellowship that enabled her to
move to France in December 1965, when she
was 24.
She continued her education at several French
universities, studying under Lucien Goldmann
and Roland Barthes, among other scholars.
On August 2, 1967, Kristeva married the novelist
Philippe Sollers, né Philippe Joyaux.
Kristeva taught at Columbia University in
the early 1970s, and remains a Visiting Professor.
She has also published under the married name
Julia Joyaux.
== Work ==
After joining the 'Tel Quel group' founded
by Sollers, Kristeva focused on the politics
of language and became an active member of
the group.
She trained in psychoanalysis, and earned
her degree in 1979.
In some ways, her work can be seen as trying
to adapt a psychoanalytic approach to the
poststructuralist criticism.
For example, her view of the subject, and
its construction, shares similarities with
Sigmund Freud and Lacan.
However, Kristeva rejects any understanding
of the subject in a structuralist sense; instead,
she favors a subject always "in process" or
"on trial".
In this way, she contributes to the poststructuralist
critique of essentialized structures, whilst
preserving the teachings of psychoanalysis.
She travelled to China in the 1970s and later
wrote About Chinese Women (1977).
=== The "semiotic" and the "symbolic" ===
One of Kristeva's most important contributions
is that signification is composed of two elements,
the symbolic and the semiotic, the latter
being distinct from the discipline of semiotics
founded by Ferdinand de Saussure.
As explained by Augustine Perumalil, Kristeva's
"semiotic is closely related to the infantile
pre-Oedipal referred to in the works of Freud,
Otto Rank, Melanie Klein, British Object Relation
psychoanalysis, and Lacan's pre-mirror stage.
It is an emotional field, tied to the instincts,
which dwells in the fissures and prosody of
language rather than in the denotative meanings
of words."
Furthermore, according to Birgit Schippers,
the semiotic is a realm associated with the
musical, the poetic, the rhythmic, and that
which lacks structure and meaning.
It is closely tied to the "feminine", and
represents the undifferentiated state of the
pre-Mirror Stage infant.Upon entering the
Mirror Stage, the child learns to distinguish
between self and other, and enters the realm
of shared cultural meaning, known as the symbolic.
In Desire in Language (1980), Kristeva describes
the symbolic as the space in which the development
of language allows the child to become a "speaking
subject," and to develop a sense of identity
separate from the mother.
This process of separation is known as abjection,
whereby the child must reject and move away
from the mother in order to enter into the
world of language, culture, meaning, and the
social.
This realm of language is called the symbolic
and is contrasted with the semiotic in that
it is associated with the masculine, the law,
and structure.
Kristeva departs from Lacan in the idea that
even after entering the symbolic, the subject
continues to oscillate between the semiotic
and the symbolic.
Therefore, rather than arriving at a fixed
identity, the subject is permanently "in process".
Because female children continue to identify
to some degree with the mother figure, they
are especially likely to retain a close connection
to the semiotic.
This continued identification with the mother
may result in what Kristeva refers to in Black
Sun (1989) as melancholia (depression), given
that female children simultaneously reject
and identify with the mother figure.
It has also been suggested (e.g., Creed, 1993)
that the degradation of women and women's
bodies in popular culture (and particularly,
for example, in slasher films) emerges because
of the threat to identity that the mother's
body poses: it is a reminder of time spent
in the undifferentiated state of the semiotic,
where one has no concept of self or identity.
After abjecting the mother, subjects retain
an unconscious fascination with the semiotic,
desiring to reunite with the mother, while
at the same time fearing the loss of identity
that accompanies it.
Slasher films thus provide a way for audience
members to safely reenact the process of abjection
by vicariously expelling and destroying the
mother figure.
Kristeva is also known for her adoption of
Plato’s idea of the chora, meaning "a nourishing
maternal space" (Schippers, 2011).
Kristeva’s idea of the chora has been interpreted
in several ways: as a reference to the uterus,
as a metaphor for the relationship between
the mother and child, and as the temporal
period preceding the Mirror Stage.
In her essay Motherhood According to Giovanni
Bellini from Desire in Language (1980), Kristeva
refers to the chora as a "non-expressive totality
formed by drives and their stases in a motility
that is full of movement as it is regulated."
She goes on to suggest that it is the mother's
body that mediates between the chora and the
symbolic realm: the mother has access to culture
and meaning, yet also forms a totalizing bond
with the child.
Kristeva is also noted for her work on the
concept of intertextuality.
=== Anthropology and psychology ===
Kristeva argues that anthropology and psychology,
or the connection between the social and the
subject, do not represent each other, but
rather follow the same logic: the survival
of the group and the subject.
Furthermore, in her analysis of Oedipus, she
claims that the speaking subject cannot exist
on his/her own, but that he/she "stands on
the fragile threshold as if stranded on account
of an impossible demarcation" (Powers of Horror,
p. 85).
In her comparison between the two disciplines,
Kristeva claims that the way in which an individual
excludes the abject mother as a means of forming
an identity, is the same way in which societies
are constructed.
On a broader scale, cultures exclude the maternal
and the feminine, and by this come into being.
== Feminist ==
Kristeva has been regarded as a key proponent
of French feminism together with Simone de
Beauvoir, Hélène Cixous, and Luce Irigaray.
Kristeva has had a remarkable influence on
feminism and feminist literary studies in
the US and the UK, as well as on readings
into contemporary art although her relation
to feminist circles and movements in France
has been quite controversial.
Kristeva made a famous disambiguation of three
types of feminism in "Women's Time" in New
Maladies of the Soul (1993); while rejecting
the first two types, including that of Beauvoir,
her stands are sometimes considered rejecting
feminism altogether.
Kristeva proposed the idea of multiple sexual
identities against the joined code of "unified
feminine language".
=== Denunciation of identity politics ===
Kristeva argues her writings have been misunderstood
by American feminist academics.
In Kristeva's view, it was not enough simply
to dissect the structure of language in order
to find its hidden meaning.
Language should also be viewed through the
prisms of history and of individual psychic
and sexual experiences.
This post-structuralist approach enabled specific
social groups to trace the source of their
oppression to the very language they used.
However, Kristeva believes that it is harmful
to posit collective identity above individual
identity, and that this political assertion
of sexual, ethnic, and religious identities
is ultimately totalitarian.
== Novelist ==
Kristeva wrote a number of novels that resemble
detective stories.
While the books maintain narrative suspense
and develop a stylized surface, her readers
also encounter ideas intrinsic to her theoretical
projects.
Her characters reveal themselves mainly through
psychological devices, making her type of
fiction mostly resemble the later work of
Dostoevsky.
Her fictional oeuvre, which includes The Old
Man and the Wolves, Murder in Byzantium, and
Possessions, while often allegorical, also
approaches the autobiographical in some passages,
especially with one of the protagonists of
Possessions, Stephanie Delacour—a French
journalist—who can be seen as Kristeva's
alter ego.
Murder in Byzantium deals with themes from
orthodox Christianity and politics; she referred
to it as "a kind of anti-Da Vinci Code".
== Honors ==
For her "innovative explorations of questions
on the intersection of language, culture and
literature", Kristeva was awarded the Holberg
International Memorial Prize in 2004.
She won the 2006 Hannah Arendt Prize for Political
Thought.
She has also been awarded Commander of the
Legion of Honor, Commander of the Order of
Merit, and the Vaclav Havel Prize.
== Scholarly reception ==
Roman Jakobson said that "Both readers and
listeners, whether agreeing or in stubborn
disagreement with Julia Kristeva, feel indeed
attracted to her contagious voice and to her
genuine gift of questioning generally adopted
'axioms,' and her contrary gift of releasing
various 'damned questions' from their traditional
question marks."Roland Barthes comments that
"Julia Kristeva changes the place of things:
she always destroys the last prejudice, the
one you thought you could be reassured by,
could be take [sic] pride in; what she displaces
is the already-said, the déja-dit, i.e.,
the instance of the signified, i.e., stupidity;
what she subverts is authority -the authority
of monologic science, of filiation."Ian Almond
criticizes Kristeva's ethnocentrism.
He cites Gayatri Spivak's conclusion that
Kristeva's book About Chinese Women "belongs
to that very eighteenth century [that] Kristeva
scorns" after pinpointing "the brief, expansive,
often completely ungrounded way in which she
writes about two thousand years of a culture
she is unfamiliar with".
Almond notes the absence of sophistication
in Kristeva's remarks concerning the Muslim
world and the dismissive terminology she uses
to describe its culture and believers.
He criticizes Kristeva's opposition which
juxtaposes "Islamic societies" against "democracies
where life is still fairly pleasant" by pointing
out that Kristeva displays no awareness of
the complex and nuanced debate ongoing among
women theorists in the Muslim world, and that
she does not refer to anything other than
the Rushdie fatwa in dismissing the entire
Muslim faith as "reactionary and persecutory".In
Intellectual Impostures (1997), physics professors
Alan Sokal and Jean Bricmont devote a chapter
to Kristeva's use of mathematics in her writings.
They argue that Kristeva fails to show the
relevance of the mathematical concepts she
discusses to linguistics and the other fields
she studies, and that no such relevance exists.
== Alleged collaboration with the Communist
Regime in Bulgaria ==
In 2018, Bulgaria’s state Dossier Commission
announced that Kristeva had been an agent
for the Committee for State Security under
the code name "Sabina".
She was supposedly recruited in June 1971.
Five years earlier she left Bulgaria to study
in France.
Under the Communist regime, any Bulgarian
who wanted to travel abroad had to apply for
an exit visa and get an approval from the
Ministry of Interior.
The process was long and difficult because
anyone who made it to the west could declare
political asylum.
Kristeva has called the allegations "grotesque
and false".
On 30 March, the state Dossier Commission
began publishing online the entire set of
documents reflecting Kristeva's activity as
an informant of the former Committee for State
Security.
She vigorously denies the charges.Neal Ascherson
wrote: "...the recent fuss about Julia Kristeva
boils down to nothing much, although it has
suited some to inflate it into a fearful scandal...
But the reality shown in her files is trivial.
After settling in Paris in 1965, she was cornered
by Bulgarian spooks who pointed out to her
that she still had a vulnerable family in
the home country.
So she agreed to regular meetings over many
years, in the course of which she seems to
have told her handlers nothing more than gossip
about Aragon, Bataille & Co. from the Left
Bank cafés – stuff they could have read
in Le Canard enchaîné... the combined intelligence
value of its product and her reports was almost
zero.
The Bulgarian security men seem to have known
they were being played.
But never mind: they could impress their boss
by showing him a real international celeb
on their books..."
== Selected writings ==
Séméiôtiké: recherches pour une sémanalyse,
Paris: Edition du Seuil, 1969.
(English translation: Desire in Language:
A Semiotic Approach to Literature and Art,
Oxford: Blackwell, 1980.)
La Révolution Du Langage Poétique: L'avant-Garde
À La Fin Du Xixe Siècle, Lautréamont Et
Mallarmé.
Paris: Éditions du Seuil, 1974.
(Abridged English translation: Revolution
in Poetic Language, New York: Columbia University
Press, 1984.)
About Chinese Women.
London: Boyars, 1977.
Powers of Horror: An Essay on Abjection.
New York: Columbia University Press, 1982.
The Kristeva Reader.
(ed.
Toril Moi) Oxford: Basil Blackwell, 1986.
In the Beginning Was Love: Psychoanalysis
and Faith.
New York: Columbia University Press, 1987.
Black Sun: Depression and Melancholia.
New York: Columbia University Press, 1989.
Strangers to Ourselves.
New York: Columbia University Press,1991.
Nations without Nationalism.
New York: Columbia University Press, 1993.
New Maladies of the Soul.
New York: Columbia University Press, 1995.
"Experiencing the Phallus as Extraneous."
parallax issue 8, 1998.
Crisis of the European Subject.
New York: Other Press, 2000.
Reading the Bible.
In: David Jobling, Tina Pippin & Ronald Schleifer
(eds).
The Postmodern Bible Reader.
(pp. 92–101).
Oxford: Blackwell, 2001.
Female Genius: Life, Madness, Words: Hannah
Arendt, Melanie Klein, Colette: A Trilogy.
3 vols.
New York: Columbia University Press, 2001.
Hannah Arendt: Life is a Narrative.
Toronto: University of Toronto Press, 2001.
Hatred and Forgiveness.
New York: Columbia University Press, 2010.
The Severed Head: Capital Visions.
New York: Columbia University Press, 2011.
Marriage as a Fine Art (with Philippe Sollers).
New York: Columbia University Press, 2016.Other
books on Julia Kristeva:
Irene Ivantcheva-Merjanska, Ecrire dans la
langue de l'autre.
Assia Djebar et Julia Kristeva.
Paris: L'Harmattan, 2015.
Jennifer Radden, The Nature of Melancholy:
From Aristotle to Kristeva, Oxford University
Press, 2000.
Megan Becker-Leckrone, Julia Kristeva And
Literary Theory, Palgrave Macmillan, 2005.
Sara Beardsworth, Julia Kristeva, Psychoanalysis
and Modernity, Suny Press, 2004.
(2006 Goethe Award Psychoanalytic Scholarship,
finalist for the best book published in 2004.)
Kelly Ives, Julia Kristeva: Art, Love, Melancholy,
Philosophy, Semiotics and Psychoanalysis,
Crescent Moon Publishing Édition, 2010.
Kelly Oliver, Ethics, Politics, and Difference
in Julia Kristeva's Writing, Routledge Édition,
1993.
Kelly Oliver, Reading Kristeva: Unraveling
the Double-bind, Indiana University Press,
1993.
John Lechte, Maria Margaroni, Julia Kristeva:
Live Theory , Continuum International Publishing
Group Ltd, 2005.
Noëlle McAfee, Julia Kristeva, Routledge,
2003.
Griselda Pollock (Guest Editor) Julia Kristeva
1966-1996, Parallax Issue 8, 1998.
Anna Smith, Julia Kristeva: Readings of Exile
and Estrangement, Palgrave Macmillan, 1996.
David Crownfield, Body/Text in Julia Kristeva:
Religion, Women, and Psychoanalysis, State
University of New York Press, 1992.
=== Novels ===
The Samurai: A Novel.
New York: Columbia University Press, 1992.
The Old Man and the Wolves.
New York: Columbia University Press, 1994.
Possessions: A Novel.
New York: Columbia University Press, 1998.
Murder in Byzantium.
New York: Columbia University Press, 2006.
Teresa, My Love: An Imagined Life of the Saint
of Avila.
New York: Columbia University Press, 2015.
== See also ==
== Notes ==
== External links ==
Official website
Holberg Prize
Interview with Julia Kristeva in Exberliner
Magazine
Julia Kristeva: A Bibliography by Hélène
Volat
Goodnow, Katherine J.(2015).
Kristeva in Focus: From Theory to Film Analysis
Berghahn Books.
