As a logical expression of an objective process, negativity

can only produce a subject in process, in other words,

the subject constituted according to the law of this

negativity, and therefore according to the law of

objective reality, can only be a subject which this

negativity runs through, a subject opened onto and by

this objectivity, a mobile, non-subjectal and free subject.

A subject immersed in negativity ceases to be an entity

exterior to objective negativity, a transcendent unity, a

specifically regimented monad, but is situated as “the

most interior and the most objective moment of life and

of spirit.” As the ferment of dialectical materialism, this

Hegelian principle was able to realize its materialist

potential in the concept of human activity as

revolutionary activity, and in the social and natural laws

which this activity discovers as objective laws.

Julia Kristeva, “The Subject in Process.” The Tel Quel

Reader. Patrick Ffrench and Roland-François Lack,

editors. London and New York: Routledge. 1998. Pages

133-178.

… as the impossibility which a subject in process encounters of producing a stable unit of meaning at the time of an articulatory and impulsional liberation of the signifier, when the limits of the signifying units are continually posited and displaced. Julia Kristeva and Caren Greenberg, “Phonetics, Phonology and Impulsional Bases.” Diacritics. Volume 4, number 3, autumn 1974. Pages 33-37. Classically, traditionally, it is transcendence— when the revolution is lacking—that “saves” us from suicide: divine, familial, humanitarian transcendence... (the series is open) which displaces the rhythmic time of the polylogical subject into a signifying or symbolic beyond where it is sheltered in exile. Where, however, the eternal “backdrop,” the phobic homogeneity, and again the eternal—support of the eternal—phallic mother are surreptitiously reconstituted. A similar “rescue” is therefore impossible for the heterogeneous, material, polylogical experience of the subject in process. Suicide, then? In fact, the ultimate gesture, if there is one, and which only the delight of the jolt holds back: the jolt of the “I,” this “springing of the subject” against (as we say, “leaning against”) it, the other, the others, the other in itself, against the symbolic, structurizing, legislating,

protecting, historicizing thesis—to stagger, to cross, to exceed, to negate, to delight in. Julia Kristeva, Carl R. Lovitt, and Ann Reilly, “Polylogue,” Contemporary Literature. Volume 19, number 3, summer. Pages 336-350. Intertextuality, once a formal phenomenon, led me to investigate its intrapsychic and psychoanalytic implications. The textual plurality was reframed as a mental activity able to open a psyche to the creative process. The polyphony of voices accounted for what I have called a subject in procession trial, that unstable articulation of identity and loss leading to a new and plural identity. At that moment, the concept of intertextuality began resonating with some other concepts that I was working out, namely that of strangeness/hospitality, migrant personalities, and grafts; that of the semiotic/ the symbolic and their trans-verbal meaning; then abjection, borderline personalities, and the blurring of object and subject acting out. Julia Kristeva, “’ Nous deux’ or a (Hi)story of Intertextuality.” Romanic Review. Volume 93, issue 1/2, January-March. Pages 7-13. Formal linguistic relations are thus connected to an “externality” in the psychosomatic realm, which is

ultimately reduced to a fragmented substance [substance morcelée] (the body divided into erogenous zones) and articulated by the developing ego’s connections to the three points of the family triangle. Such a linguistic theory, clearly indebted to the positions of the psychoanalytic school of London and Melanie Klein in particular, restores to formal linguistic relations the dimensions (instinctual drives) and operations (displacement, condensation, vocalic and intonational differentiation) that formalistic theory excludes. Yet for want of a dialectical notion of the signifying process as a whole, in which signifiance puts the subject in process/on trial [en procès], such considerations, no matter how astute, fail to take into account the syntactico-semantic functioning of language. Although they rehabilitate the notion of the fragmented body – pre-Oedipal but always already invested with semiosis – these linguistic theories fail to articulate its transitional link to the post-Oedipal subject and his always symbolic and/or syntactic language. Julia Kristeva. The Kristeva Reader. Toril Moi, editor. New York: Columbia University Press. 1986. Page 91. To restrict myself here to a personal level, as related to the question of women, I see arising, under the cover of a relative indifference toward the militance of the first

and second generations, an attitude of retreat from sexism (male as well as female) and, gradually, from any kind of anthropomorphism. The fact that this might quickly become another form of spiritualism turning its back on social problems, or else a form of repression ready to support all status quos, should not hide the radicalness of the process. This process could be summarized as interiorization of the founding separation of the sociosymbolic contract, as an introduction of its cutting edge into the very interior of every identity whether subjective, sexual, ideological, or so forth. This in such a way that the habitual and increasingly explicit attempt to fabricate a scapegoat victim as foundress of a society or a countersociety may be replaced by the analysis of the potentialities of victim/executioner which characterize each identity, each subject, each sex. Julia Kristeva, Alice Jardine, and Harry Blake, “Women’s Time.” Signs: Journal of Women in Culture and Society. Volume 7, number 1, August 1981. Pages 13-35. In “the Subject in Process,” Julia Kristeva takes on the task of revisiting Lacanian psychoanalytic theory in order to show how the evolution of the subject is related to the evolution of language. According to Kristeva, the subject is by nature in motion, challenging the erroneous notion of the monolithic nature of language….

… The subject in process attacks every stasis of a “unitary” subject. It attacks every structure that says “No” (censorship) to the subject's drives and complexification, every structure that sets it up as a unity. The “unitary” subject is replaced by a subject in process (understood as movement) whose representation is a space of mobility: the semiotic chora. Johanne Prud’homme and Lyne Légaré, “The Subject in Process.” Signo: Theoretical Semiotics on the Web. 2006. Web.

Julia KristevaЮлия Кръстева

Kristeva in 2008

Born Yuliya StoyanovaKrasteva24 June 1941Sliven, Bulgaria

Nationality Bulgarian

Alma mater University of Sofia

Spouse(s) Philippe Sollers

Awards Holberg InternationalMemorial Prize

Hannah Arendt Awardfor Political Thought

VIZE 97 Prize

Era Contemporaryphilosophy

Region Western philosophy

School Continentalphilosophy

Psychoanalysis

Structuralism

Poststructuralism

Julia KristevaJulia Kristeva (French: [kʁisteva]; born Yuliya StoyanovaKrasteva, Bulgarian: Юлия Стоянова Кръстева; on 24 June 1941)is a Bulgarian-French philosopher, literary critic, semiotician,psychoanalyst, feminist, and, most recently, novelist, who has lived inFrance since the mid-1960s. She is now a professor emeritus at theUniversity Paris Diderot. The author of more than 30 books,including Powers of Horror, Tales of Love, Black Sun: Depressionand Melancholia, Proust and the Sense of Time, and the trilogyFemale Genius, she has been awarded Commander of the Legion ofHonor, Commander of the Order of Merit, the Holberg InternationalMemorial Prize, the Hannah Arendt Prize, and the Vision 97Foundation Prize, awarded by the Havel Foundation.

Kristeva became influential in international critical analysis, culturalstudies and feminism after publishing her first book, Semeiotikè, in1969. Her sizeable body of work includes books and essays whichaddress intertextuality, the semiotic, and abjection, in the fields oflinguistics, literary theory and criticism, psychoanalysis, biographyand 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 Prizecommittee.[3]

LifeWork

The "semiotic" and the "symbolic"Anthropology and psychology

FeminismDenunciation of identity politics

NovelistHonorsScholarly receptionAlleged collaboration with the Communist Regime inBulgariaSelected writings

Linguistic and literaturePsychoanalysis and philosophyAutobiographical essaysCollection of essays

Contents

French feminism[1]

Maininterests

Philosophy oflanguage

Semiotics · Literarycriticism

Philosophy ofliterature

Psychoanalysis

Feminism

Notableideas

The "semiotic" of thepre-mirror stage

Nature of abjection

Intertextuality

Influences

Mikhail Bakhtin · Jacques Lacan ·Roland Barthes · Jacques Derrida ·Lucien Goldmann · Hannah Arendt ·

Georges Bataille[2]

Website kristeva.fr (http://kristeva.fr/)

Novels

See alsoReferencesFurther reading

Books about Julia Kristeva

External links

Born in Sliven, Bulgaria to Christian parents, Kristeva is the daughterof a church accountant. Kristeva and her sister attended aFrancophone school run by Dominican nuns. Kristeva becameacquainted with the work of Mikhail Bakhtin at this time in Bulgaria.Kristeva went on to study at the University of Sofia, and while apostgraduate there obtained a research fellowship that enabled her tomove to France in December 1965, when she was 24.[4] Shecontinued her education at several French universities, studying underLucien Goldmann and Roland Barthes, among other scholars.[5][6]

On August 2, 1967, Kristeva married the novelist Philippe Sollers,[7]

born Philippe Joyaux.

Kristeva taught at Columbia University in the early 1970s, andremains a Visiting Professor.[8] She has also published under themarried name Julia Joyaux.[9][10][11]

After joining the 'Tel Quel group' founded by Sollers, Kristeva focused on the politics of language and becamean 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. Forexample, 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 subjectalways "in process" or "on trial".[12] In this way, she contributes to the poststructuralist critique of essentializedstructures, whilst preserving the teachings of psychoanalysis. She travelled to China in the 1970s and laterwrote About Chinese Women (1977).[13][14][15][16][17][18]

One of Kristeva's most important contributions is that signification is composed of two elements, the symbolicand 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-Oedipalreferred to in the works of Freud, Otto Rank, Melanie Klein, British Object Relation psychoanalysis, andLacan's pre-mirror stage. It is an emotional field, tied to the instincts, which dwells in the fissures and prosodyof language rather than in the denotative meanings of words."[19] Furthermore, according to Birgit Schippers,the semiotic is a realm associated with the musical, the poetic, the rhythmic, and that which lacks structure andmeaning. It is closely tied to the "feminine", and represents the undifferentiated state of the pre-Mirror Stageinfant.[20]

Life

Work

The "semiotic" and the "symbolic"

Julia Kristeva in 2005

Upon entering the Mirror Stage, the child learns to distinguish between self and other, and enters the realm ofshared cultural meaning, known as the symbolic. In Desire in Language (1980), Kristeva describes thesymbolic 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 thesemiotic in that it is associated with the masculine, the law, and structure. Kristeva departs from Lacan in theidea that even after entering the symbolic, the subject continues to oscillate between the semiotic and thesymbolic. Therefore, rather than arriving at a fixed identity, the subject is permanently "in process". Becausefemale children continue to identify to some degree with the mother figure, they are especially likely to retain aclose connection to the semiotic. This continued identification with the mother may result in what Kristevarefers to in Black Sun (1989) as melancholia (depression), given that female children simultaneously reject andidentify with the mother figure.

It has also been suggested (e.g., Creed, 1993) that the degradation of women and women's bodies in popularculture (and particularly, for example, in slasher films) emerges because of the threat to identity that themother's body poses: it is a reminder of time spent in the undifferentiated state of the semiotic, where one hasno concept of self or identity. After abjecting the mother, subjects retain an unconscious fascination with thesemiotic, desiring to reunite with the mother, while at the same time fearing the loss of identity thataccompanies it. Slasher films thus provide a way for audience members to safely reenact the process ofabjection 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 theuterus, as a metaphor for the relationship between the mother and child, and as the temporal period precedingthe 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 isfull of movement as it is regulated." She goes on to suggest that it is the mother's body that mediates betweenthe chora and the symbolic realm: the mother has access to culture and meaning, yet also forms a totalizingbond with the child.

Kristeva is also noted for her work on the concept of intertextuality.

Kristeva argues that anthropology and psychology, or the connection between the social and the subject, donot 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, butthat he/she "stands on the fragile threshold as if stranded on account of an impossible demarcation" (Powers ofHorror, p. 85).

In her comparison between the two disciplines, Kristeva claims thatthe way in which an individual excludes the abject mother as a meansof forming an identity, is the same way in which societies areconstructed. On a broader scale, cultures exclude the maternal and thefeminine, and by this come into being.

Anthropology and psychology

Feminism

Kristeva has been regarded as a key proponent of French feminism together with Simone de Beauvoir, HélèneCixous, and Luce Irigaray.[21][22] Kristeva has had a remarkable influence on feminism and feminist literarystudies[23][24] in the US and the UK, as well as on readings into contemporary art[25][26] although her relationto feminist circles and movements in France has been quite controversial. Kristeva made a famousdisambiguation of three types of feminism in "Women's Time" in New Maladies of the Soul (1993); whilerejecting the first two types, including that of Beauvoir, her stands are sometimes considered rejectingfeminism altogether. Kristeva proposed the idea of multiple sexual identities against the joined code of "unifiedfeminine language".

Kristeva argues her writings have been misunderstood by American feminist academics. In Kristeva's view, itwas not enough simply to dissect the structure of language in order to find its hidden meaning. Languageshould also be viewed through the prisms of history and of individual psychic and sexual experiences. Thispost-structuralist approach enabled specific social groups to trace the source of their oppression to the verylanguage they used. However, Kristeva believes that it is harmful to posit collective identity above individualidentity, and that this political assertion of sexual, ethnic, and religious identities is ultimately totalitarian.[27]

Kristeva wrote a number of novels that resemble detective stories. While the books maintain narrative suspenseand develop a stylized surface, her readers also encounter ideas intrinsic to her theoretical projects. Hercharacters reveal themselves mainly through psychological devices, making her type of fiction mostly resemblethe later work of Dostoevsky. Her fictional oeuvre, which includes The Old Man and the Wolves, Murder inByzantium, 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 beseen 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".[28]

For her "innovative explorations of questions on the intersection of language, culture and literature", Kristevawas awarded the Holberg International Memorial Prize in 2004. She won the 2006 Hannah Arendt Prize forPolitical Thought. She has also been awarded Commander of the Legion of Honor, Commander of the Orderof Merit, and the Vaclav Havel Prize.[29] On October 10, 2019, she received an honoris causa doctorate fromUniversidade Católica Portuguesa.

Roman Jakobson said that "Both readers and listeners, whether agreeing or in stubborn disagreement withJulia Kristeva, feel indeed attracted to her contagious voice and to her genuine gift of questioning generallyadopted 'axioms,' and her contrary gift of releasing various 'damned questions' from their traditional questionmarks."[30]

Roland Barthes comments that "Julia Kristeva changes the place of things: she always destroys the lastprejudice, the one you thought you could be reassured by, could be take [sic] pride in; what she displaces is thealready-said, the déja-dit, i.e., the instance of the signified, i.e., stupidity; what she subverts is authority -theauthority of monologic science, of filiation."[31]

Denunciation of identity politics

Novelist

Honors

Scholarly reception

Ian Almond criticizes Kristeva's ethnocentrism. He cites Gayatri Spivak's conclusion that Kristeva's bookAbout Chinese Women "belongs to that very eighteenth century [that] Kristeva scorns" after pinpointing "thebrief, expansive, often completely ungrounded way in which she writes about two thousand years of a cultureshe is unfamiliar with".[32] Almond notes the absence of sophistication in Kristeva's remarks concerning theMuslim world and the dismissive terminology she uses to describe its culture and believers.[33] He criticizesKristeva's opposition which juxtaposes "Islamic societies" against "democracies where life is still fairlypleasant" by pointing out that Kristeva displays no awareness of the complex and nuanced debate ongoingamong women theorists in the Muslim world, and that she does not refer to anything other than the Rushdiefatwa in dismissing the entire Muslim faith as "reactionary and persecutory".[34]

In Intellectual Impostures (1997), physics professors Alan Sokal and Jean Bricmont devote a chapter toKristeva's use of mathematics in her writings. They argue that Kristeva fails to show the relevance of themathematical concepts she discusses to linguistics and the other fields she studies, and that no such relevanceexists.[35]

In 2018, Bulgaria's state Dossier Commission announced that Kristeva had been an agent for the Committeefor State Security under the code name "Sabina". She was supposedly recruited in June 1971.[36][37] Fiveyears earlier she left Bulgaria to study in France. Under the People's Republic of Bulgaria, any Bulgarian whowanted to travel abroad had to apply for an exit visa and get an approval from the Ministry of Interior. Theprocess was long and difficult because anyone who made it to the west could declare political asylum.[38]

Kristeva has called the allegations "grotesque and false".[39] On 30 March, the state Dossier Commissionbegan publishing online the entire set of documents reflecting Kristeva's activity as an informant of the formerCommittee for State Security.[40][41][42][43][44][45] She vigorously denies the charges.[46]

Neal Ascherson wrote: "...the recent fuss about Julia Kristeva boils down to nothing much, although it hassuited some to inflate it into a fearful scandal... But the reality shown in her files is trivial. After settling in Parisin 1965, she was cornered by Bulgarian spooks who pointed out to her that she still had a vulnerable family inthe home country. So she agreed to regular meetings over many years, in the course of which she seems tohave told her handlers nothing more than gossip about Aragon, Bataille & Co. from the Left Bank cafés – stuffthey could have read in Le Canard enchaîné... the combined intelligence value of its product and her reportswas 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..."[47]

Séméiôtiké: recherches pour une sémanalyse, Paris, Seuil, 1969 (trans. in Desire in Language:A Semiotic Approach to Literature and Art, New York, Columbia University Press, Blackwell,London, 1980)Le Langage, cet Inconnu, S.G.P.P., 1969; new ed., coll. Points, Seuil, 1981 (trans. in 1981 as"Language. The Unknown: an Initiation into Linguistics", Columbia University Press, HarvesterWheatsheaf, London, 1989)La Révolution Du Langage Poétique: l'avant-garde à la fin du 19e siècle, Lautréamont etMallarmé, Seuil, Paris, 1974 (abridged trans. containing only the first third of the original Frenchedition, Revolution in Poetic Language, Columbia University Press, New York, 1984)Polylogue, Seuil, Paris, 1977 (trans. in Desire in Language: A Semiotic Approach to Literatureand Art, New York, Columbia University Press, Blackwell, London, 1980)

Alleged collaboration with the Communist Regime in Bulgaria

Selected writings

Linguistic and literature

Histoires d’amour, Denoël, Paris, 1983 (trans. Tales of Love, Columbia University Press, NewYork, 1987)Le Temps sensible. Proust et l’expérience littéraire, Gallimard, Paris, 1994 (trans. Time andSense: Proust and the experience of literature, Columbia University Press, New York, 1996)Dostoïevski, Buchet-Chastel, Paris, 2020

Pouvoirs de l’horreur. Essai sur l’abjection (trans. Powers of Horror: An Essay on Abjection,Columbia University Press, New York, 1982)Au commencement était l’amour. Psychanalyse et foi, Hachette, Paris, 1985 (trans. In theBeginning Was Love. Psychoanalysis and Faith, Columbia University Press, New York, 1987)Soleil Noir. Dépression et mélancolie, Gallimard, Paris, 1987 (trans. The Black Sun:Depression and Melancholia, Columbia University Press, New York, 1989)Etrangers à nous-mêmes, Fayard, Paris, 1988 (Strangers to Ourselves, Columbia UniversityPress, New York, 1991)Lettre ouverte à Harlem Désir, Rivages, Paris, 1990, (trans. Nations without Nationalism.Columbia University Press, New York, 1993Les Nouvelles maladies de l’âme, Fayard, Paris, 1993 (trans. New Maladies of the Soul.Columbia University Press, New York, 1995)Sens et non sens de la révolte, Fayard, Paris, 1996 (trans. The Sense of Revolt, ColumbiaUniversity Press, 2000)La Révolte intime, Fayard, 1997 (trans. Intimate Revolt, Columbia University Press, 2002)Le Génie féminin: la vie, la folie, les mots, Fayard, Paris, 1999- (trans. Female Genius: Life,Madness, Words, Columbia University Press, New York, 2001–2004):

1. Hannah Arendt ou l’action comme naissance et comme étrangeté, vol. 1, Fayard, Paris,19992. Melanie Klein ou le matricide comme douleur et comme créativité: la folie, vol. 2, Fayard,Paris, 20003. Colette ou la chair du monde, vol. 3, Fayard, Paris, 2002

Vision capitales, Réunion des musées nationaux, 1998 (trans. The Severed Head: capitalvisions, Columbia University Press, New York, 2012)

Des Chinoises, édition des Femmes, Paris, 1974 (About Chinese Women, Marion Boyars,London, 1977Du mariage considéré comme un des Beaux-Arts, Fayard, Paris, 2015 (Marriage as a Fine Art(with Philippe Sollers) Columbia University Press, New York 2016Je me voyage. Mémoires. Entretien avec Samuel Dock, Fayard, Paris, 2016 (A Journey AcrossBorders and Through Identities. Conversations with Samuel Dock, in The Philosophy of JuliaKristeva, ed. Sara Beardsworth, The Library of Living Philosophers, vo. 36, Open Cort,Chicago, 2020)

The Kristeva Reader, ed. Toril Moi, Columbia University Press, New York, 1986The Portable Kristeva, ed. Kelly Oliver, Columbia University Press, New York, 1997

Psychoanalysis and philosophy

Autobiographical essays

Collection of essays

Crisis of the European Subject, Other Press, New York, 2000La Haine et le pardon, ed. with a foreword by Pierre-Louis Fort, Fayard, Paris, 2005 (trans.Hatred and forgiveness, Columbia University Press, New York, 2010)Pulsions du temps, foreword, edition and notes by David Uhrig, Fayard, Paris, 2013 (trans.Passions of Our Time, ed. with a foreword by Lawrence D. Kritzman, Columbia UniversityPress, New York, 2019)

Les Samouraïs, Fayard, Paris, 1990 (trans. The Samurai: A Novel, Columbia University Press,New York, 1992)Le Vieil homme et les loups, Fayard, Paris, 1991(trans. The Old Man and the Wolves,Columbia University Press, New York, 1994)Possessions, Fayard, Paris, 1996 (trans. Possessions: A Novel, Columbia University Press,New York, 1998)Meurtre à Byzance, Fayard, Paris, 2004 (trans. Murder in Byzantium, Columbia UniversityPress, New York, 2006)Thérèse mon amour : récit. Sainte Thérèse d’Avila, Fayard, 2008 (trans. Teresa, my love. AnImagined Life of the Saint of Avila, Columbia University Press, New York, 2015)L’Horloge enchantée, Fayard, Paris, 2015 (trans. The Enchanted Clock, Columbia UniversityPress, 2017)

Capacity to be aloneÉcriture féminineKhôraList of thinkers influenced by deconstruction

1. Kelly Ives, Cixous, Irigaray, Kristeva: The Jouissance of French Feminism, Crescent MoonPublishing, 2016.

2. Creech, James, "Julia Kristeva's Bataille: reading as triumph," (https://www.jstor.org/stable/464723?seq=1#page_scan_tab_contents) Diacritics, 5(1), Spring 1975, pp. 62-68.

3. Simone de Beauvoir Prize 2009 goes to the One Million Signatures Campaign in Iran (http://www.campaign4equality.info/english/spip.php?article440) Archived (https://web.archive.org/web/20090201060949/http://www.campaign4equality.info/english/spip.php?article440) 2009-02-01 atthe Wayback Machine, Change for Equality

4. Siobhan Chapman, Christopher Routledge, Key thinkers in linguistics and the philosophy oflanguage, Oxford University Press US, 2005, ISBN 0-19-518767-9, Google Print, p. 166 (https://books.google.com/books?id=VfrRiCQr4NAC&pg=PA166&lpg=PA166&source=bl&ots=mWY_IOLbHB&sig=rw5ohdVUBP3wlYz1OFa6Lhv5syk&hl=en&ei=HS4QSufhLpWZjAe-6uipBg&sa=X&oi=book_result&ct=result&resnum=7#PPA166,M1)

5. Nilo Kauppi, Radicalism in French Culture: A Sociology of French Theory in the 1960s,Burlington, VT, 2010, p. 25.

6. Schrift, Alan D. (2006). Twentieth-century French Philosophy: Key Themes and Thinkers.Blackwell Publishing. p. 147. ISBN 1-4051-3217-5.

7. Benoît Peeters, Derrida: A Biography, Cambridge: Polity Press, 2013, pp. 176-77.

Novels

See also

References

8. Riding, Alan, Correcting Her Idea of Politically Correct (https://www.nytimes.com/2001/07/14/arts/correcting-her-idea-of-politically-correct.html?pagewanted=all). New York Times. 14 June2001.

9. Library of Congress authority record for Julia Kristeva (http://id.loc.gov/authorities/names/n50045983.html), Library of Congress

10. BNF data page (http://data.bnf.fr/11910116/julia_kristeva/), Bibliothèque nationale de France11. Hélène Volat, Julia Kristeva: A Bibliography (http://hvolat.netai.net/Kristeva/kristlan.htm)

(bibliography page for Le Langage, cet inconnu (1969), published under the name JuliaJoyaux).

12. McAfee, Noêlle (2004). Julia Kristeva (https://books.google.com/books?id=1F4oOL1PACMC&q=sujet+en+proces+on+trial&pg=PA38). London: Routledge. p. 38. ISBN 0-203-63434-9.

13. "State University of New York at Stony Brook" (https://web.archive.org/web/20041120233104/http://ms.cc.sunysb.edu/~hvolat/kristeva/krist01.htm). Archived from the original (http://ms.cc.sunysb.edu/~hvolat/kristeva/krist01.htm) on 2004-11-20. Retrieved 2004-11-23.

14. "Tate Britain Online Event: Julia Kristeva" (https://web.archive.org/web/20180403002323/http://www.tate.org.uk/context-comment/video/julia-kristeva-on-genie-feminine-and-art). Archivedfrom the original (http://www.tate.org.uk/context-comment/video/julia-kristeva-on-genie-feminine-and-art) on 2018-04-03. Retrieved 2014-07-31.

15. "Who's who in Les Samouraïs - Philippe Sollers/Pileface" (http://www.pileface.com/sollers/article.php3?id_article=49). www.pileface.com.

16. "Julia Kristeva/Josefina Ayerza/Flash Art" (https://www.lacan.com/perfume/kristeva.htm).www.lacan.com.

17. "The ideas interview: Julia Kristeva" (https://www.theguardian.com/education/2006/mar/14/highereducation.research1). the Guardian. March 14, 2006.

18. "Julia Kristeva - site officiel" (http://www.kristeva.fr/). www.kristeva.fr.19. Perumalil, Augustine. The History of Women in Philosophy. p. 344.20. Schippers, Birgit (2011). Julia Kristeva and Feminist Thought.21. Vanda Zajko and Miriam Leonard (eds.), Laughing with Medusa. Oxford University Press,

2006. ISBN 0-19-927438-X22. Griselda Pollock, Inscriptions in the feminine. In: Inside the Visible edited by Catherine de

Zegher. MIT Press, 1996.23. Parallax, n. 8, [Vol. 4(3)], 1998.24. Humm, Maggie, Modernist Women and Visual Cultures. Rutgers University Press, 2003.

ISBN 0-8135-3266-325. Griselda Pollock, Encounters in the Virtual Feminist Museum. Routledge, 2007.26. Humm, Maggie, Feminism and Film. Indiana University press, 1997. ISBN 0-253-33334-227. Riding, Alan, Correcting Her Idea of Politically Correct (https://www.nytimes.com/2001/07/14/art

s/correcting-her-idea-of-politically-correct.html?pagewanted=all). New York Times. June 14,2001

28. Sutherland, John (14 March 2006). "The ideas interview: Julia Kristeva; Why is a great criticashamed of being fashionable?"(https://www.theguardian.com/ideas/story/0,,1730437,00.html). The Guardian. Retrieved23 November 2014.

29. http://www.holbergprisen.no/en/julia-kristeva/french-order30. Desire in Language: A Semiotic Approach to Literature and Art, Columbia University Press,

1980 (In Preface)31. Roland Barthes, The Rustle of language, p 16832. Ian Almond, The New Orientalists: Postmodern Representations of Islam from Foucault to

Baudrillard, I.B.Tauris, 2007, p. 132

33. Ian Almond, The New Orientalists: Postmodern Representations of Islam from Foucault toBaudrillard, I.B.Tauris, 2007

34. Ian Almond, The New Orientalists: Postmodern Representations of Islam from Foucault toBaudrillard, I.B.Tauris, 2007, pp. 154–55

35. Alan Sokal and Jean Bricmont, Intellectual Impostures, Profile Books, 1998, p. 4736. "Julia Kristeva avait été recrutée par les services secrets communistes bulgares" (https://bibliob

s.nouvelobs.com/actualites/20180328.OBS4308/julia-kristeva-avait-ete-recrutee-par-les-services-secrets-communistes-bulgares.html). Bibliobs.

37. Sofia, Reuters in (March 28, 2018). "Julia Kristeva was communist secret agent, Bulgariaclaims" (https://www.theguardian.com/world/2018/mar/28/julia-kristeva-communist-secret-agent-bulgaria-claims). the Guardian.

38. Ghodsee, Kristen Rogheh (November 2005). The Red Riviera: Gender, tourism, andpostsocialism on the Black Sea (https://archive.org/details/redriviera01ghod). Duke UniversityPress. "declare political asylum."

39. "Julia Kristeva Denies Being Bulgarian Security Agent" (https://balkaninsight.com/2018/03/29/julia-kristeva-denies-being-communist-state-security-spy-03-29-2018/). March 29, 2018.

40. ″Bulgaria’s Dossier Commission posts Julia Kristeva files online″ (https://sofiaglobe.com/2018/03/30/bulgarias-dossier-commission-posts-julia-kristeva-files-online/), The Sofia Globe, 30March 2018. Retrieved 30 March 2018..

41. ″Unprecedented - The Dossier Commission Published the Dossier of Julia Kristeva AKA Agent"Sabina" (http://www.novinite.com/articles/189165/Unprecedented+-+The+Dossier+Commission+Published+the+Dossier+of+Julia+Kristeva+AKA+Agent+%22Sabina%22), novinite.com, 30March 2018. Retrieved 30 March 2018.

42. Documents on the Dossier Commission’s website (in Bulgarian) (https://www.comdos.bg/%D0%9D%D0%B0%D1%87%D0%B0%D0%BB%D0%BE/%D0%9F%D1%80%D0%BE%D0%B2%D0%B5%D1%80%D0%B5%D0%BD%D0%B8_%D0%BB%D0%B8%D1%86%D0%B0/p/search/?ApprovedPersonFirstName=%D0%AE%D0%BB%D0%B8%D1%8F&ApprovedPersonMidName=%D0%A1%D1%82%D0%BE%D1%8F%D0%BD%D0%BE%D0%B2%D0%B0&ApprovedPersonLastName=%D0%9A%D1%80%D1%8A%D1%81%D1%82%D0%B5%D0%B2%D0%B0&ApprovedPersonBirthDate=&ApprovedPersonBirthLocation=&ExaminationPersonPosition=&search=%D0%A2%D1%8A%D1%80%D1%81%D0%B5%D0%BD%D0%B5).Retrieved 30 March 2018.

43. Христо Христов, ″Онлайн: Първите документи за Юлия Кръстева в Държавна сигурност″(http://desebg.com/medii/3528-2018-03-29-12-23-51), desebg.com, 29 March 2018 (Dossier of″Sabina″, in Bulgarian). Retrieved 31 March 2018.

44. Христо Христов, ″Само на desebg.com: Цялото досие на Юлия Кръстева онлайн (лично иработно дело)″ (http://desebg.com/ucheni/3529-2018-03-30-05-01-16), desebg.com, 30 March2018 (Dossier of ″Sabina″, in Bulgarian). Retrieved 31 March 2018.

45. Jennifer Schuessler and Boryana Dzhambazova, ″Bulgaria Says French Thinker Was a SecretAgent. She Calls It a ‘Barefaced Lie.’″ (https://www.nytimes.com/2018/04/01/arts/julia-kristeva-bulgaria-communist-spy.html), ″The New York Times″, 1 April 2018. Retrieved 2 April 2018.

46. Schuessler, Jennifer; Dzhambazova, Boryana (2018-04-01). "Bulgaria Says French ThinkerWas a Secret Agent. She Calls It a 'Barefaced Lie.' " (https://www.nytimes.com/2018/04/01/arts/julia-kristeva-bulgaria-communist-spy.html). The New York Times. ISSN 0362-4331 (https://www.worldcat.org/issn/0362-4331). Retrieved 2018-04-02.

47. Neal Ascherson, "Don’t imagine you’re smarter" (https://www.lrb.co.uk/v40/n14/neal-ascherson/dont-imagine-youre-smarter), London Review of Books, 19 July 2018.

Further reading

Beardsworth, Sara, The Philosophy of Julia Kristeva, The Library of Living Philosophers, vol.36, Southern Illinois University Carbondale, Open Court, Chicago, 2020Jardine, Alice, At the Risk of Thinking. An Intellectual Biography of Julia Kristeva, Bloomsbury,New York, 2020Ivantcheva-Merjanska, Irene, Ecrire dans la langue de l'autre. Assia Djebar et Julia Kristeva,L'Harmattan, Paris, 2015.Kelly Ives, Julia Kristeva: art, love, melancholy, philosophy, semiotics and psychoanalysis,Crescent Moon, Maidstone, 2013Becker-Leckrone, Megan, Julia Kristeva And Literary Theory, Palgrave Macmillan, 2005Beardsworth, Sara, Psychoanalysis and Modernity, Suny Press, Albany, 2004Radden, Jennifer, The Nature of Melancholy: From Aristotle to Kristeva, Oxford UniversityPress, 2000Lechte, John, and Margaroni, Maria, Julia Kristeva: Live Theory, Continuum, 2004McAfee, Noëlle, Julia Kristeva, Routledge, London, 2004Smith, Anna, Julia Kristeva: Readings of Exile and Estrangement, St. Martin's Press, New york,1996.Oliver, Kelly, Ethics, Politics, and Difference in Julia Kristeva's Writing, Routledge Édition, NewYork, 1993Crownfield, David, Body/Text in Julia Kristeva: Religion, Women, and Psychoanalysis, StateUniversity of New York Press, 1992Oliver, Kelly, Reading Kristeva. Unraveling the Double-bind, Indiana University Press,Bloomington, 1983

Official website (http://kristeva.fr/)Holberg Prize (https://web.archive.org/web/20170801171230/http://www.holbergprisen.no/julia-kristeva/holbergprisens-symposium-2004-julia-kristeva.html)Interview with Julia Kristeva in Exberliner Magazine (http://www.exberliner.com/articles/%22one-needs-to-believe%2C-but-what%27s-more-important-is-to-question-what-we-believe%22/index.html)Julia Kristeva: A Bibliography (http://hvolat.com/Kristeva/kristeva.htm) by Hélène VolatGoodnow, Katherine J.(2015). Kristeva in Focus: From Theory to Film Analysis (http://www.berghahnbooks.com/title.php?rowtag=GoodnowKristeva) Berghahn Books.

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