PDF Ebook Julia Kristeva: Art, Love, Melancholy, Philosophy, Semiotics and Psychoanalysis (European Writers), by Kelly Ives
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Julia Kristeva: Art, Love, Melancholy, Philosophy, Semiotics and Psychoanalysis (European Writers), by Kelly Ives
PDF Ebook Julia Kristeva: Art, Love, Melancholy, Philosophy, Semiotics and Psychoanalysis (European Writers), by Kelly Ives
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J U L I A K R I S T E V A ART, LOVE, MELANCHOLY, PHILOSOPHY, SEMIOTICS AND PSYCHOANALYSIS By Kelly Ives Julia Kristeva was born in Bulgaria in 1941. Educated in part by French nuns, she was involved early on in her life with Communist Party youth organizations and children's groups. Since moving to Paris in the 1960s, Kristeva has risen in stature in intellectual circles so that she is now regarded as one of the most important thinkers of the contemporary era. EXTRACT FROM CHAPTER 7: “JULIA KRISTEVA'S THEORY OF LOVE”: For Julia Kristeva, love embodies both the semiotic and the symbolic, both knowledge and joy (pace Baruch de Spinoza), both language and affect. Kristeva has written of love in a way that is not facile, demeaning, banal, stereotypical, sexist or pornographic. Her pronouncements on love are quite different from those in the ‘classic' texts of love, such as Ovid's poems, or the mediaeval Art of Love, or Elizabethan sonnet sequences, or Stendhal's De l'Amour, or Denis de Rougement’s L’Amour et l’occident (Love in the Western World). When Kristeva writes - Vertigo of identity, vertigo of words: love, of the individual, is that sudden revelation, that irremediable cataclysm, of which one speaks only after the fact. Under its sway, one does not speak of. (“In Praise of Love”) - it seems right and thankfully free of the usual embarrassment of chauvinism that marks much writing about love. Julia Kristeva evokes the wildness of love, the loss of self and the eruption of desire, without sounding idiotic. When Kristeva writes that in love one assumes the right to be extraordinary, it is a great description of being in love. Kristeva is right to describe love as the inrush of total subjectivity, an infinity of subjectivity. In Kristeva’s psycho-poetic reading, love’s the inrush of the totally extraordinary, but at the expense of commonsense (as lovers learn, painfully): Love is the time and space in which “I” assumes the right to be extraordinary. Sovereign yet not individual. Divisible, lost, annihilated; but also, and through imaginary fusion with the loved one, equal to the infinite space of superhuman psychism. Paranoid? I am, in love, at the zenith of subjectivity. How great this first chapter of Histoires d’amour is, as great as Stendhal’s De l’Amour or Sigmund Freud’s The Ego and the Id, or Jacques Lacan’s �crits. Kristeva describes love as a transgressive, sometimes violent wildness (D.H. Lawrence’s term 'infinite sensual violence' is apposite here). REVISED AND UPDATED, WITH NEW ILLUSTRATIONS The text has been revised again and updated for this fifth edition. Illustrated, including a selection of art by Giovanni Bellini. Also available in hardback. European Writers Series. Bibliography and notes. 180pp. www.crmoon.com
- Published on: 2016-06-21
- Original language: English
- Dimensions: 9.21" h x .41" w x 6.14" l, .57 pounds
- Binding: Paperback
- 180 pages
About the Author
KELLY IVES has written widely on feminism, philosophy and art. Her previous books include Cixous, Irigaray, Kristeva: The Jouissance of French Feminism, Luce Irigaray, H�l�ne Cixous and Wild Zones: Pornography, Art and Feminism.
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LOVE AND ART AND MORE, OH MUCH MORE
By Jeremy Robinson
Julia Kristeva is a French philosopher and feminist writer who has produced a huge body of work, going back to the 1960s. She is a remarkable thinker by any standards, but some of her ideas can be a little tricky and avant garde to grasp at first (the chora, the semiotic realm, the abject, etc). She uses a good deal of psychology, drawing on Sigmund Freud and Jacques Lacan, as well as cultural theory.
This book by Kelly Ives I found useful because it was clearly written, unlike too much of contemporary theoretical criticism. Ives steers clear of using jargon for the sake of it, or for showing off to other cultural critics. I mean, there are people who write about Kristeva who seem to be complicated for the sake of it, and there's no need for that (and no time for it either!).
And although Kristeva's work can be dense at times, her ideas are definitely worth pursuing. I particularly enjoy her writings on love and emotion (collected in her book Tales of Love). Kristeva has some truly extraordinary things to say about love - quite individual, quite unlike any other writer on love and feelings, but very illuminating.
As well as love, Kristeva has also written extensively about art and the artist - especially valuable are her views on the relation of making art to depression and heightened emotions. This book also explores these fascinating ideas, which say so much about being an artist - about the costs and the problems of being an artist, as wel as the joys and achievements.
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