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The cinema of Asghar Farhadi has garnered significant attention from researchers and critics over the past 20 years. Farhadi's reputation has increased due to winning prestigious international awards in the last two decades. His works have been analyzed through various disciplines in humanities such as psychology, ethics, philosophy, sociology, and women's studies. Additionally, his films are notable for their examination through different film criticism methods, including screenplay theories, narratology, and mise en scène analysis. This article focuses on the role of thresholds in Farhadi's films, in A Separation, The Past, and The Salesman. Key story events, tense moments, critical decisions, and characters' confrontations with ethical crises often occur in spaces like hallways, staircases, entryways, and doorways. Bakhtin introduced the concept of thresholds in his critique of Dostoevsky's works, explaining it within different types of narrative chronotopes. Bakhtin believed that Dostoevsky frequently depicted individuals at the threshold of irreversible decisions, at critical moments of crisis, and at pivotal life changes, placing characters in a threshold through appropriate chronotopes. Julia Kristeva's social-psychoanalytic criticism has expanded Bakhtin's threshold. She invokes the term "threshold" (Fr. le seuil) to indicate "the common point" at which her major concepts converge. Kristeva's work confronts the unsettling processes of meaning and the subject as a more general socio-historical crisis, which may be witnessed in art. Based on the theories of Bakhtin and Kristeva and the analysis of the three mentioned films, various aspects of thresholds in their theories can be identified, including narrative thresholds, bodily thresholds, the kitchen as a substitute for the drawing room (the hall, the dining room), thresholds in mise-en-scène, the dynamic of subject absence/presence, the threshold of the semiotic/symbolic, and the open-ended dialogue. The social-psychoanalytic analysis of these films revealed that thresholds are an effective narrative device for character development and engaging the audience. While generally being classified as social dramas, Farhadi's films portray deep personal crises. This apparent contradiction can be understood through Bakhtin's concept of thresholds and its expansion in Kristeva's social/psychoanalytic approach. Bakhtin viewed human social nature as inherently interactive, and Kristeva considered the threshold between individual/society and the space between the personal/public as the site for the formation of speaking subjects. Therefore, significant personal events with the emergence or disappearance of the subject inevitably occur at the threshold of confrontations. From this perspective, personal crises are inherently social, and examining social issues in contemporary society is possible through analyzing personal issues and problems. Following the collapse of symbolic systems, Kristeva sees art and psychoanalysis as the only means of social analysis in the modern era, as these two fields document the overflow of the semiotics. The main characters in the three films analyzed belong to the middle class, a social group in Iran characterized by the decline of religious/traditional values. Thus, their personal/moral crises, according to Kristeva, are contextualized within a larger historical/social crisis. As emphasized in Kristeva's "Fantasy and Cinema," and highlighted in the analysis of these films, personal stories of suffering in cinema have the power to authentically represent social realities.

Intertextual studies are among the important approaches in contemporary literary research. According to the theory of intertextuality, no text exists without a pre-text, and texts are continuously recreated or reinterpreted based on earlier texts. Considering allusion as exemplar of intertextuality, the purpose of this study is to analyze the intertextual relationships of allusions in the poetry of Mirza Mohammad Seil Akhbāri using a descriptive-analytical method. The results of this study indicate that allusions in Seil Akhbāri's poetry are often connected to literary romanticism, mythological themes, religious subjects, and religious figures. Intertextual relationships in the works of this poet are based on the three types of Kristeva's transtextuality - partial negation, parallel negation, and complete negation, among which, partial negation is more prevalent and shows the highest rate of frequency in the poetry of Seil Akhbāri.

The present paper analyzes Jorie Graham’s “Sea Change”, the eponymous poem of her 2008 poetry collection, through Julia Kristeva’s theories on semiotic and the abject. By tracing the historical attitudes towards embodiment, this research attempts to examine Graham’s outlook towards the mind/body and by extension nature/culture dichotomies in her poetry. The previous studies on the Sea Change collection have mostly focused on Graham’s formal structures and ecological concerns; no other research has used Kristeva’s theories to examine the importance of one’s embodied experience of the world in her poetry to reveal how negative attitudes towards the body lead to a fractured existence for the human subject. Graham’s poetic language addresses the neglect to which the semiotic has been subjected, redefines the body in terms that are not abject and opens up a safe cultural space for it. Her poetry illuminates how mystification and degradation of the body have a positive correlation with oppression of the nature, as concepts belonging to similar dichotomous lines of thought, and highlights the call for a re-evaluation of the attitudes towards the human subject’s existence in the world.

The use of clothing in art can serve as a powerful metaphor for the body. Bodies, when depicted with impurities resulting from violence, can evoke feelings of disgust and awareness in the audience. This article examines the works of Doris Salcedo, Christian Boltanski, and Anselm Kiefer, exploring how they utilize "clothing" as a representation of "bodies" to critique "violence."These artists employ clothing as a symbolic tool to represent violence in their works. By analyzing the diverse ways in which they utilize clothing, this article seeks to answer the following question: How can Julia Kristeva's concept of abjection be applied to analyze the works of Salcedo, Boltanski, and Kiefer, which utilize clothing as a tool for critiquing violence and representing loss, death, and violence? In the works of these artists, clothing serves as a metaphor for lost bodies. The abject theory, rooted in the rebellion of borders and systems and deeply connected to the visceral body, provides a compelling framework for understanding this representation. [ABSTRACT FROM AUTHOR]

This essay analyzes common ground between Toni Morrison's Sula, (1973) and the film Hyènes (Hyenas), directed in 1992 by the avant-garde Senegalese filmmaker Djibril Diop Mambéty. Both Morrison's and Mambéty's works enter into an extended dialogue with the 1956 tragicomedy Der Besuch der alten Dame (The Visit), written by the Swiss-born playwright Friedrich Dürrenmatt (1921–1990). By re-framing the sinister figure of Dürrenmatt's Claire Zachanassian within the Africanist context of African American and Senegalese communities, Morrison and Mambéty challenge the limits of normative social roles for women—particularly mothers—while also probing the unsettling, permeable boundaries between the individual and that which lies outside the self. The essay concludes by drawing on Julia Kristeva's theory of the abject in order to chart these boundaries, and to better understand the abiding, cross-cultural fascination of the wealthy, violent, and vengeful Visitor, who returns home bearing poisoned gifts. [ABSTRACT FROM AUTHOR]

This essay takes a new and different look at why Charles Wesley's hymns are felt to be so helpful to us in our human predicament. Why do they so effectively stimulate our religious imagination, expand our spiritual awareness, and enable our spiritual and emotional growth? Most previous study of why this is the case has been concerned with Wesley's facility with language, his use of words and figures of speech, which was often idiosyncratic; and with his ability to convey complicated theological concepts in poetry. The words could then be set to music and sung in a doxological setting of praise and prayer. Because of this poetic and doxological setting, those who sing his hymns often respond powerfully, not only on a cognitive level but in some way which is beyond the cognitive. This essay suggests that, in addition to the music and the worship setting, this relates to some extent to Wesley's treatment of Christian symbolism; and in order to extend our understanding of how this might happen, it uses psychoanalytic theory to examine the processes involved. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Fine Arts: Performing Arts & Music is the property of University of Tehran, College of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The saliva of the worthless sinner, the kitchen-like boiling of souls in Hell, the ferocious mouth of a dragon: the spiritual diary of Úrsula de Jesús illuminates interior spaces as varied as they are fantastic and terrifying. Spanning the years 1650–1661, the Afro-Peruvian donada 's divine encounters in Lima's Convent of Santa Clara make exterior and visible the interior, invisible portions of Úrsula's context even as her story is mediated by a palimpsest of the nuns who recorded her visions. In dialogue with Kristeva's "abject" and Spivak's "subaltern," this article argues that Úrsula's spiritual diary can be seen to fashion a space of the spiritually abject, a space that dissolves boundaries between self and world even as its plurivocal form and subaltern subject complicate the idea of the literary abject itself. At the intersection of psychoanalytic and subaltern discourse, Úrsula's self-abjection gives voice to such currents in her narrative. The saliva of the worthless sinner, the kitchen-like boiling of souls in Hell, the ferocious mouth of a dragon: the spiritual diary of Úrsula de Jesús illuminates interior spaces as varied as they are fantastic and terrifying. Spanning the years 1650–1661, the Afro-Peruvian donada's divine encounters in Lima's Convent of Santa Clara make exterior and visible the interior, invisible portions of Úrsula's context even as her story is mediated by a palimpsest of the nuns who recorded her visions. In dialogue with Kristeva's "abject" and Spivak's "subaltern," this article argues that Úrsula's spiritual diary can be seen to fashion a space of the spiritually abject, a space that dissolves boundaries between self and world even as its plurivocal form and subaltern subject complicate the idea of the literary abject itself. At the intersection of psychoanalytic and subaltern discourse, Úrsula's self-abjection gives voice to such currents in her narrative. [ABSTRACT FROM AUTHOR]

Copyright of Critical Literary Studies is the property of University of Kurdistan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dimensions of unintentionality: Jan Mukařovský — Julia Kristeva — Georges didi-Huberman. --- This article focuses on the concepts of intentionality and unintentionality introduced into the semiotics of the Prague Structural School by Jan Mukařovský. These terms are considered in the context of two other conceptual pairs: 1) the semiotic (lesémiotique) and the symbolic (le symbolique) by Julia Kristeva; and 2) the visual (le visuel) and the visible (le visible) by Georges Didi-Huberman. These concepts, created on the basis of French humanities, can be treated as a development on and complement to Mukařovský’s aesthetic theory.

The document titled "Kristevan Affect in Connie Willis' Passage" is an article published in the Forum for World Literature Studies. The article explores the concept of Kristevan affect in Connie Willis' novel "Passage." It discusses how the novel manifests this affect and its significance within the context of literature studies. The article also references other works such as "Lincoln's Dreams" and "All Clear," as well as the book "The Portable Kristeva." The article provides a valuable resource for those interested in the intersection of literature and affect theory. [Extracted from the article]

Samuel Beckett as a dramatist is well-known with his contributions to the landscape of British theatre. His plays reverberate with voices of traumatized, marginalized and war-stricken characters, which function as an implicit criticism of the turbulent atmosphere of the 1900s. When Beckett addresses the problems of his time in a covert way, the playwright deconstructs conventional elements of drama by specifying no plot, no setting or no theme. This Beckettian style also becomes manifest in his use of language which is characterized by the presence of segmented structures, pauses, ellipses and even silence. Considering these tenets of Beckettian drama, the thematic concerns of his theatrical productions are assumed to primarily revolve around the issues of nihilism, language, and ontology. Therefore, Beckett's plays are thought to be read through the lenses of distinguished theorists such as Sigmund Freud, Carl Jung, Jacques Lacan and Julia Kristeva. From among these theorists, the concepts of the semiotic, the symbolic and the semiotic chora of Julia Kristeva as a poststructuralist thinker provide a fertile ground for a theoretical reading of Beckett's play Not I (1972). Relevantly, this paper principally examines the applicability of Kristeva's "semiotic chora" into Beckett's Not I in all aspects. [ABSTRACT FROM AUTHOR]

This article focuses on the concepts of intentionality and unintentionality introduced into the semiotics of the Prague Structural School by Jan Mukařovský. These terms are considered in the context of two other conceptual pairs: 1) the semiotic (le sémiotique) and the symbolic (le symbolique) by Julia Kristeva; and 2) the visual (le visuel) and the visible (le visible) by Georges Didi-Huberman. These concepts, created on the basis of French humanities, can be treated as a development on and complement to Mukařovský's aesthetic theory. [ABSTRACT FROM AUTHOR]

Representations of Christianity in contemporary Chinese cinema are very limited, making the scholarship of this subject underexplored. Filmmaker Gan Xiao'er has made three feature-length independent films focusing on Christianity in China. These films, The Only Sons (2003), Raised from Dust (2007), and Waiting for God (2012), are used for case studies, with close analyses of their narratives and formal elements. They are also examined in the social and cultural contexts of postsocialist China. This article argues that Gan's religious features are significant in the context of postsocialist Chinese cinema. They not only depict the religious experience of Chinese Christians, which has been under-represented cinematically, but also provide a religious critique rarely seen in Chinese films. On the one hand, these films critically engage with the experience of underprivileged people during the Reform period, when economic development and materialism became dominant, while the socialist political system remained. Gan's religious features provide an alternative perspective that cares for people's spiritual needs. On the other hand, Gan's later films interrogate the local religious institution in China, questioning the arbitrary separation of the 'holy' and the 'unholy', proposing a more inclusive approach to the religious concept of love. [ABSTRACT FROM AUTHOR]

The primary aim of this article is to think through how silence can be considered as generating meaning in literary prose. For this purpose, the article focuses on Zimbabwean author Yvonne Vera's last novel, The Stone Virgins (2002a), which has often been described as 'breaking the silence' about the genocidal violence remembered as Gukurahundi. As a secondary aim, the article sets out to rethink Vera's idea and argues that rather than 'breaking' the silence, her novel explores different forms of silence, some of which are necessary for healing and regeneration. However, silence is not just a theme or motif in the novel: Vera also uses silence in her own writing to generate new meaning. Using an essay by Elleke Boehmer as a point of departure, this article proposes a conceptualisation of silence through two terms: the unsayable and the unsaid, where the former refers to meaning that is suppressed and the latter to that which has not yet been said. It argues that the novel presents a poetics that aligns with its theme of meaning, generative silence, which uses opaque and imprecise syntax and referentiality in a way that maximises the possibility of the unsaid to be said. [ABSTRACT FROM AUTHOR]

Wśród humanistów reprezentujących szeroko pojęty nurt postmodernistyczny można dostrzec postawę uznania względem fenomenu religii. Do grona pozytywnie nastawionych do religii autorów postracjonalnych należy Julia Kristeva, francusko-bułgarska psychoanalityczka, filozofka i literaturoznawczyni. Jej nieskrywany szacunek do treści, które niesie religia chrześcijańska, wzbudza niekiedy zachwyt także wśród wierzących. Rodzi się nawet obustronne oczekiwanie, że pod wpływem jej prac pojawić się może przestrzeń do budowy nowego świata, wolnego od wszelkich barier i niezrozumienia, a nawet nadzieja na odnowienie chrześcijaństwa. Niestety, po głębszej analizie myśli francuskiej humanistki trudno jest podzielać podobne oczekiwanie. Jej idealistyczna i redukcjonistyczna filozofia nie jest w stanie oddać w pełni chrześcijańskiego przesłania, co oznacza, iż dialog w szerszym wymiarze staje pod znakiem zapytania. W artykule omówiono podstawy jej psychoanalitycznej myśli, jak również dokonano analizy niektórych terminów interpretowanych przez nią, zaczerpniętych z religii chrześcijańskiej. Z przeprowadzonych badań wynika, iż Kristeva nie wychodzi poza ramy psychoanalizy, co powoduje, że stosowane przez nią pojęcia pozornie tylko odpowiadają terminom chrześcijańskim. Dla niej religia jest niczym więcej, jak tylko pewną formą lekarstwa w określonych sytuacjach, co bez wątpienia deprecjonuje chrześcijańskie orędzie.

Copyright of Research in Contemporary World Literature is the property of University of Tehran and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Research in Contemporary World Literature is the property of University of Tehran and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Research in Contemporary World Literature is the property of University of Tehran and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to reflect on some of the texts by the Bulgarian-French psychoanalyst Julia Kristeva, trying to engage with them from the point of view of theology. Some of the thinker's writings are presented here, but also traces of her biography that are intertwined with the proposed theme. The intention is to see how a dialogue with her thought can fertilize theology and open new perspectives. [ABSTRACT FROM AUTHOR]

Kristeva has a close relationship with China. Not only has she obtained a degree in Chinese and been active in the "China Period" of Tel Quel, but she has also focused on the Chinese language, thought, and culture in both her academic research and her literary work. Kristeva's early concern with Chinese primarily revolved around linguistics and semiotics. Influenced by the Chinese language, she proposed theories such as "logique poétique" and "le paragramme semiology." After the 1970s, Kristeva began to introduce psychoanalytic and feminist perspectives into her research, focusing on understanding the Chinese language from the standpoint of Chinese thought, culture, and historical traditions and considering Chinese as a "tonal language." Since the 1990s and especially in the 21st century, Kristeva further explored the potential for dialogue between Chinese and European cultures within the context of their "encounter." Thus, Kristeva's fascination with the Chinese language has become a prominent case of Western practice in the mutual learning between Chinese and Western literary theories. [ABSTRACT FROM AUTHOR]

Copyright of Çankaya University Journal of Humanities & Social Sciences is the property of Cankaya University Journal of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Exploring the intersection of Gothic Medicine and Graphic Medicine in Ian William's graphic novel, The Bad Doctor, this article discusses the ways in which gothic aesthetics, particularly representations of the abject encounter, contribute to an understanding of mental illness whilst also interrogating dominant paradigms within medical discourse. Further, this study suggests that the gothic aspects of comics as a medium contribute to the effectiveness of Gothic Medicine as a genre by offering insight into visual and verbal representations of the body. Detailed close readings indicate that Williams's work draws a parallel between the symptoms of obsessive-compulsive disorder on an individual level and the hostility toward the Gothic that formed a cornerstone in the foundation of modern medicine as a discipline. [ABSTRACT FROM AUTHOR]

The lecture examines aspects of the political, intellectual, and artistic contexts which triggered Julia Kristeva’s lifelong theoretical exploration of the “psychic revolution of matter” and which led to the formation of some of Kristeva’s major concepts. Author(s): Miglena Nikolchina Title (English): Survival of the Human in the Flux of Language (Transcript of a lecture given as part of the School of Materialist Research - Intensive Study Program) Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 20, No. 1-2 (2023). Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 116-127 Page Count: 12 Citation (English): Miglena Nikolchina, "Survival of the Human in the Flux of Language (Transcript of a lecture given as part of the School of Materialist Research - Intensive Study Program),” Identities: Journal for Politics, Gender and Culture, Vol. 20, No. 1-2 (2023): 116-127.

Copyright of Felsefelogos is the property of Felsefelogos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Three Souls by Janie Chang focuses on a changing transformative time in China's history--the 1930s. During this period, China was experiencing political and societal shifts that prompted gender equality movements. Song Leiyin, the female protagonist in Three Souls, embodies the experiences of women during this period. She is an ambitious and desiring woman who lives in a family and society that restricts women's roles and abilities. As a woman with aspirations and desires, Song Leiyin is perceived as a threat to traditional values and paternal authority. In her journey towards reclaiming her subjectivity, Song Leiyin encounters many obstacles that force her to confront and challenge the patriarchal structures that oppress her. Despite the challenges, Song Leiyin manages to break free from the patriarchal constraints by reconnecting with her maternal drives. Julia Kristeva's theory of abjection provides an analytical framework to explore the ways in which Leiyin experiences abjection and the consequences of confronting her abject desires. While commonly associated with the abject, this study argues that the maternal can be a site of resistance and empowerment. By embracing the maternal abject, women can assert their agency and break free from oppressive norms. [ABSTRACT FROM AUTHOR]

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the words of Gertrude Stein: "Composition is the difference." Tender Buttons, her poetry collection published in 1914, is one of the most compositionally daring and misunderstood works within the modernist canon. Stein's composition brings into existence a way of seeing words: she forms her own use of language, both interpreting the rules of grammar and showing clear linguistic choices. In Tender Buttons, the word becomes the microcosm for larger philosophical issues embedded within language: identity, the body, being and knowing, and power. My thesis will closely observe how Stein's poems lend themselves to productive dialogs and/or cross fertilization with the linguistic theories of 20th century language philosophers Ludwig Wittgenstein, Julia Kristeva, Jacques Derrida, and Valentin Voloshinov. In placing Stein in conversation with these philosophers, I hope to draw Stein in closer proximity to popular language theory and introduce new lenses to help perceive her work. More importantly, I hope to show how uniquely Stein challenges and pushes the boundaries of language, demonstrating to her readers the practice of choice and intent in the language of the everyday.

When Holocaust survivor Anna Langfus (1920–1966) left Poland for France in 1946, she broke all ties with her home country. French became her language of choice for the three novels she published between 1960 and 1965, and she never used Polish at home nor taught it to her only daughter. Yet, in a contribution to a volume on Chopin published a few months before her death, she had the famous composer cry out: 'I do not want to die in this country. [...] No, not here. But at home, in my home, the only home I ever owned, my parents' home. A home I shall never see again; a country I have abandoned.' Drawing on the work of Julia Kristeva (abjection) and Dominick LaCapra (empathic unsettlement) I explore representations of exile in Langfus's fiction in three respects: the incommunicability of the Shoah and the ensuing exilic condition of the Holocaust survivor (exile from others); the fragmentation/dislocation of the narrator's body as expression of the survivor's existential anguish (exile from self); the fleeting solace offered by creative fiction and the connection established with readers (suspension of exile). Throughout this discussion, I will be guided by the motif of the fog, which features strongly in Langfus's Chopin text. [ABSTRACT FROM AUTHOR]

Julia Kristeva’nın psikanalitik kuramında abjeksiyon, yalnızca bedenin bilinç ve bilinçdışı ile etkileşimlerini ortaya koymak ile kalmaz; aynı zamanda beden imgelemi üzerindeki patriarkal tahakkümü de ifşa eder. Kristeva, abjeksiyonu fenomenolojik bir süje olarak kullanır ve onun deneyimler üzerindeki etkilerini post-feminist bir perspektiften inceler. Ona göre patriarkal tahakküm altında beliren deneyimler, tıpkı bedenin “atıkları” gibi maddi varoluş içerisinde sönümlenen, bayağı ve ötekileştirilmiş devinimlerdir. Bu çalışmada Julia Kristeva’nın abjeksiyon kuramından yararlanılarak bedenin pre-modern ve modern düşünce tarihi içerisindeki ikincil konumuna eleştiri getirilmesi ve beden imgelemi üzerindeki patriarkal tahakkümün yapıbozumuna uğratılması amaçlanmıştır. Bunun için çalışmanın ilk bölümünde bedenin Antikiteden modern sosyal kurama kadarki yolculuğu kronolojik bir perspektiften ele alınmış ve Immanuel Kant, Emile Durkheim gibi düşünürlere odaklanılarak tartışılmış; ikinci bölümünde psikanalistler Sigmund Freud, Alfred Adler ve Jacques Lacan’ın öğretilerindeki beden ve psikoz ilişkisi açıklanmıştır. Üçüncü bölümde ise Kristeva’nın abjeksiyon kuramı açıklanmış, abjeksiyonun patriarkal inşası incelenmiştir. Çalışma ile bedeni patriarkal abjeksiyon içerisinden kurtarmanın feminist literatür yönünden geçerliliğini koruyan bir gereklilik olduğu sonucuna varılmıştır.

This article details the deconstruction of social identity in Mark Gevisser's memoir Lost and Found in Johannesburg. It does so by emphasising how the city's design reflects racial and sexual segregation through the construction of borders and boundaries that are nonetheless nebulous and artificial. In Gevisser's memoir, his recollections are interspersed with the narratives of other marginalised individuals and groups. I employ Julia Kristeva's theory of abjection to understand how systems of exclusion function not only to exclude, but paradoxically, how they allow spaces of inclusion. I argue that the apartheid city can be read as a social body that can be analysed in a similar manner to how the individual subject distinguishes itself from others. The social body therefore creates subjective boundaries between racialised and sexualised others to maintain its sense of autonomy. [ABSTRACT FROM AUTHOR]

This study deals with the Hong Kong poet Mary Jean Chan's poem “The mother finds her own wild, lost beginnings deep within the body of her daughter” within the framework of the failing matricide and feminine psychology. The poem provides autobiographical details about the author who produced the text to seek reconciliation with her mother that became estranged from the daughter due to her queer identity. The narrative thus deals with the problematic relationship and conflict between mother and daughter that has been going on for years. In this respect, the present study argues that the implied author is unable to build a coherent subjectivity due to the repeated acts of the failing matricide and might be said to experience a lack, rather than a loss, of the maternal object and image. Defining herself as an object of the mother, the implied author aims to recreate and reclaim the mother she fails to kill in the symbolic through the words in the semiotic, and thus hopes to build a subjectivity while indirectly mourning for the ideal mother she believes she deserves. The semiotic and the poetic discourse provide a maternal realm for the depressed subject, and through the textual production, the implied author tries to gain the affection and love of the mother in a neurotic way. The study is based on Horney's theory regarding feminine psychology and Kristevian concepts of matricide and melancholy. Within this context, overidentification with or inability to identify with the maternal figure might end up with the failing matricide. The implied author therefore experiences neurotic feelings of guilt due to her queer identity and bears an ontological resentment towards the mother since she fails to overcome the maternal figure through matricide. [ABSTRACT FROM AUTHOR]

In her work, Julia Kristeva uses two disparate concepts: revolution and revolt. In this article we will try to outline these concepts as different approaches to the relations between power, art and psychoanalysis. By placing the concepts of revolt and revolution in dialogue with each other, and by pointing out that the dialogue departs from the notion of experience, we will attempt to reconstruct the important contribution that Kristeva's work offers. Her perspective reveals that artistic expression is linked to a specific kind of politics (dissolved politics). Kristeva's view of literary and psychoanalytic practice is then, we argue, something that can contribute to its realisation, albeit in a limited way.

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The juxtaposition of dream narratives from Spanish surrealist writer José María Hinojosa's La flor de Californía (1928) and artist Joaquín Peinado's four drawings found interspersed throughout the collection demonstrates a symbiotic relationship between the artist and writer's creative purposes, in true surrealist fashion creating an "image-text." Thus, the present article argues that Peinado's drawings represent a key element for understanding La flor de Californía and should be considered an integral part of the dream texts. Julia Kristeva's ideas on signification and the interplay of the symbolic and the semiotic orders present in poetic creation prove useful in understanding this interplay of image and word. Hinojosa's texts, along with Peinado's drawings, attempt to re-create this process of signification, in which the text, although tied down by the symbolic order—that is, systems and realism—, constantly pushes to evade logic and allow the semiotic to emerge through genotexts. Hinojosa and Peinado's combined creation of drawings and writings are examples of one such attempt to obliterate the social constraints of the symbolic order and allow the reader/viewer to witness indirectly the semiotic processes of the pre-Oedipal phase. [ABSTRACT FROM AUTHOR]

There is barely a field of academic research not subject to crisis claims. Many urban crises span careers and take significant emotional tolls. This is not due to a lack of effort. Academic productivity, as it is typically measured, is rapidly increasing and success claims commonplace. This article reflects critically upon the science-policy interface and interprets the work of Julia Kristeva to discuss the importance of creating "tiny revolts" able to rescale and reframe inquiry, and to problematise success. I argue these revolts hold potential in sustaining ourselves and others, as well as in creating new acts of critical thinking. [ABSTRACT FROM AUTHOR]

The US war story is conventionally one of nation and of masculinity. Literary fiction and nonfiction by US women writers who address the war on terror and focus on women serving in the military have problematized this paradigm. Given the high number of women who joined the US military to serve in the wars in Iraq and Afghanistan, texts such as Love my Rifle More Than You: Young and Female in the U.S. Army by Kayla Williams (2006), Flashes of War by Katey Schultz (2013), Shade It Black : Death and After in Iraq by Jessica Goodell (2013), and Sand Queen by Helen Benedict (2011) highlight the challenges the US female soldier encounters not only on the battlefield, but also in being accepted by her male peers because she is a woman performing a masculine job. Benedict's Sand Queen adds a twist to this still emerging literary tradition by portraying the sexually harassed US female soldier Kate Brady concurrent with the Iraqi viewpoint of the civilian, a Muslim woman named Naema al-Jubur. In this essay, I propose an archipelagic theoretical framework to examine the war on terror as it is portrayed from the perspective of the sexually harassed US female soldier and the civilian Iraqi woman, while paying close attention to the main setting of the story, Camp De Bucca. I examine the characters of Kate and Naema in light of Julia Kristeva's feminist theory of the "abject" and Giorgio Agamben's analysis of political violence, specifically his definition of the "sovereign sphere." [ABSTRACT FROM AUTHOR]

Copyright of Simone de Beauvoir Studies is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

18th-century poet and novelist Mary Julia Young was a prolific writer supporting herself by writing. She remained a biographically obscure literary figure, yet her remarkable life with the experience of anxiety drew attention through her poetic discourse and narrative. Hence, having earned her living from literature, Young had to stick to the demands of the era's literary fashions. Therefore, this paper investigates the clues and signs of the author's real experience and analyses Young's sonnet "Anxiety" in terms of the representation of the neurotic mind and anxiety. The paper categorizes the type of anxiety and the subjective experience of the poetic persona as mood and disorder. The study suggests that the implied author experiences neurosis as character neurosis whereas the historical author suffers from situational neurosis. The authorial persona is afflicted with basic anxiety as the implied author and with simple anxiety as the historical author and anxiety of authorship as a female writer. The conflict between the historical author's external dilemma and the implied author's internal dilemma leads to a profound inhibition against the very act of creating, and thus, the persona ends the poem at its peak of anxiety. Considering Young as a female writer who struggled against hardships in a literary world getting more commercial each day, the paper, using the terminology of Karen Horney and Julia Kristeva, argues that the anxious mood of the poet is represented through the discourse of the poetic persona, who not only reveals her anxiety and neurosis but also the problems of the poet herself.