Thesis (M.A.)--University of Adelaide, Dept. of English, 1995. / Includes bibliographical references (leaves 131-142).

Inledning: Julia Kristeva har utvecklat det teoretiska begreppet abjektet. Syftet med studien var att förstå mer av abjektet och vilken betydelse det kan ha för den psykodynamiska praktiken. Frågeställningar: Hur upplever terapeuter förtrogna med begreppet abjekt dess kliniska relevans och användbarhet? Vilka implikationer för, och vilka specifika intrapsykiska och/eller intersubjektiva kännetecken i, terapin beskrivs? Metod: Genom intervjuer med sex terapeuter förtrogna med Kristeva söktes abjektets relevans och användbarhet samt specifika intrapsykiska och intersubjektiva kännetecken i relation till det kliniska arbetet. Intervjuerna analyserades med hjälp av deduktiv tematisk analys. Resultat: Abjektet som fenomen beskrevs visa sig som affektiva och kroppsliga symptom, där patienten visar föga förankring i språket, och där sammanblandade och gränslösa relationer framträder. Det präglas av att patienten agerar ut med syftet att fortsatt symbiotiskt sammanblandas eller i försök att differentiera och separera. Arbetet med det abjekta visade sig kliniskt innebära att en tillitsfull relation behöver upprättas; ett terapeutiskt sammanhang markerat av gränser, möjliggörande rörelse och benämning av tidigare osymboliserat material. Patienten kan i det ideala fallet upprättas som subjekt, sörja över separationen och bristen, ges tillträde till en plats i sin historia och förmå stå ensam och separat i relation till andra. Diskussion: Av analysen framkommer att de intervjuade terapeuterna antog positioner i olika grad längst en å ena sidan ickespråklig nivå av närvaro i terapirummet och en å andra sidan språkligt avgränsad nivå.  I analysen visar sig arbetet med det abjekta syfta till separation och subjektets tillblivelse. Ett arbete som i sin tur ses vara avgörande för att individen ska kunna ingå i relationer med andra. / Introduction: The aim of the study was to investigate the term Abject as developed by Julia Kristeva. Research questions: How do therapists familiar with the term Abject perceive its clinical relevance and usefulness? Which are the implications described concerning intrapsychic and/or intersubjective characteristics in therapy? Method: Interviewing six therapists, all familiar with Kristeva, the study sought to find how the Abject is relevant in psychodynamic therapy in Sweden today, as to understand its intrapsychic and intersubjective implications. The interviews were analysed using deductive thematic analysis. Results: The phenomenology of the Abject was described as presenting itself through affective and somatic symptoms, devoid of symbolic representation and relational boundaries. It was further described as characterized by patients acting out, seeking to symbiotically merge or to differentiate themselves as separate. The study showed that working clinically with the Abject requires the therapist to construct a relation based on trust, define borders and to help the patient to express formerly unspeakable experiences, thus enabling the patient, ideally, to establish themselves as subject, mourn the separation and develop the capacity to stand alone. Discussion: In working with the abject, the interviewed therapists appear to assume positions of varying degree along, on the one hand a non-verbal level of presence in the therapeutic room and on the other hand a verbally demarcated level. In every case the work with the Abject appear to aim for separation and the formation of the subject. This work appears to be crucial for the individual as to be able to relate to others.

This thesis examines, in the light of Julia Kristeva's and Michel Foucault's recent theorisations of the productions of meaning, the work of two authors, Djuna Barnes and Audre Lorde, whose writing, it argues, sets up virtual spaces which can become places of resistance to the normative functioning of a given culture. Having sketched a philosophical background to notions of extra-linguistic space through reference to Plato, Kant, Hegel and Lacan, the first chapter considers what is distinctive in the theories of space provided by Kristeva, who (in Revolution in Poetic Language) develops Plato's notion of the chora functioning at times as a synonym for "semiotic articulation". The semiotic (le semiotique) is employed by Kristeva in a very precise way. It represents a convolution of expressions: operating as a drive system within the body that affects the structure of language (understood by her as the symbolic), as a "network of marks" that breaches the established sign systems, and as a revolutionary process that is responsible for the transgression and articulation of new meanings. Because both the semiotic and the symbolic are an inseparable part of the signifying processes of language, they together act as pathways of production. Of all these various processes and relations, the most remarkable one is that these two modalities are genderised: the semiotic chora is "enigmatic and feminine, th[e] space underlying the written"; while the symbolic is a "phallic function". That being so, one of the main features of this thesis is to articulate a feminist argument in relation to Kristeva, expounding on the notion of the spatial concept of the semiotic chora as a "resistance" to phallocentrism. The second chapter sets out to explore Foucault's spatial reasoning. My argument is that space is central to Foucault's concerns. This is demonstrated in several ways. First I suggest that Foucault's interpretation of a social construction of space is such that the subject is connected to its own fashioning processes. Second, by introducing space into his documentation of history, Foucault sets in motion a dispersion of society's master narratives. In respect of this, I argue that a methodology can be formed from Foucault's spatial term "heterotopia", where contingent sites, rather than causes, shape new discourses and open up possibilities of resistance against the techniques and tactics of domination. Because (as Foucault writes in The Order of Things) the heterotopia serves to "desiccate speech, stop words in their tracks, contest the very possibility of grammar at its source", it not only produces discourse, it challenges all boundaries and remains essentially fluid, escaping the matrix of historical category. The next three chapters consider the implications of Kristeva's definition of the semiotic chora which, as briefly mentioned above, is constituted by psychosomatic drives. Hence, mood plays a central role in the semiotic chora. I construct a reading of Nightwood the main tenet of which is to examine the textual variations of Kristeva's resistant and abject `language'. Located in melancholy, incest, and discontentednesse ach trope forms individual chapterse xploring ways in which the limits of language are transgressed. Taken as a whole, the theme running through the three chapters on Nightwood is that new literary formations arise when the abject as mood becomes structured and made meaningful by the symbolic. The last two chapters examine Foucault's position in relation to Kristeva's, and argue that Kristeva's and Foucault's spatial thinking questions the appearance of finality and completeness in language. These chapters also provide a practical application of Foucault's heterotopia, in which spaces between contingent sites are shaped by Lorde. It is argued that opportunities of resistance are provided by Lorde who, naming her disparate position against the master narratives that fail to recognise her, locates her difference from them. In conclusion, a feminist reading of Kristeva's chora and Foucault's heterotopia reveals an opening to resistant spaces and new paths of production of meaning. Chora and heterotopia, then, are not merely abstract philosophical concepts, but powerful tools of reading, as is shown by their application in the interpretation of the works of Barnes and Lorde.

In the face of an explosion of feminist discourse and an increasingly global, deeply troubled socio-religious climate, the following study explores the role of religion qua Christianity in researching female subjectivity, according to Julia Kristeva. Kristeva's pervasive influence and controversial reception in academic circles grants her the focus of this investigation. / This project familiarizes the reader with Kristeva's theory of subjectivity as a process and situates her among the plethora of feminist theorists. It also examines her view that religion is an illusory therapy for the modern subject in crisis. Finally, these two themes are brought together in a discussion on her theory of a culture of revolt, derived from the psychoanalytic process. Kristeva's vision for the future of feminism is shown to be deeply philosophical, while also socially and politically important. Furthermore, in revolt culture, religion might well leave open the possibility of researching female subjectivity.

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This essay offers an analysis of Paul Auster's novel Invisible. The main focus of the essay is on the incestuous love affair between Adam Walker and his sister Gwyn. It is argued that the novel via this incestuous affair is addressing the issue of the unrepresentable, what Lacan termed the “real” that lies beyond the symbolic order. It is shown that the concept of the unrepresentable has been a central theme in Auster's work throughout his career. The main theoretical foundation of the essay is Julia Kristeva's theories regarding the “abject.” A summary of Kristeva's theories is therefore offered, as well as a summary of research into the incest taboo.

In Infinite Jest, David Foster Wallace positions abjection in opposition to empathy. Both psychological phenomena derive from a relationship between two people, but abjection depends on a pushing away and empathy depends on a pulling toward. The experience of either phenomenon results in a blurring of interpersonal boundaries, but there is no intimacy in abjection. Instead, as made evident in the central family of Wallace’s novel, the result of abjection is that an individual retreats into the self, rejecting any attempt at intimacy that might be interpreted as an effort to breach autonomy. This alienation is best countered by empathy, as modeled in Infinite Jest in the practice of “Identification” in Alcoholics Anonymous. To identify with a person is to empathize with him or her: to share perspective and emotion. Empathy, unlike abjection, lasts only for a moment, allowing for the reinstatement of the boundaries of self.

Proefschrift--Wijsbegeerte--Katholieke Universiteit Nijmegen, 1999. / Résumé en anglais. Bibliogr. p. 201-219. Index.

Our contemporary culture is the product of enlightenment movements that have produced a discursive mode that favors skepticism, abstraction, and a mistrust of the body. This crisis of meaning has produced subjects that have lost the capacity for convincing symbolic exchanges. This project aims to reveal the vital importance of the imaginary for our possibilities of community, culture, and connectedness. I will use the work of Julia Kristeva to explain how we benefit from a symbolic that is supported by a robust and dynamic imaginary that springs from our embodied life. My thesis is that the foundation of the imaginary is best conceived as acoustical rather than visual. The contemporary experience that best recovers these representational capacities is found in our making, hearing, and sharing music. The current crisis of meaning can be ameliorated and subjectivity can be restored when aesthetic experiences and artistic practices rehabilitate the semiotic body as a source of meaning.