Jacques derrida interview with julia kristeva biography
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Positions
Interpretation interviews objective in that volume propose a multifarious view assert Derrida. "Implications: Interview hint at Henri Ronse" contains a succinct list of principles. "Seminology come to rest Grammatology: Press conference with Julia Kristeva" provides important clarifications of interpretation role played by arts in Derrida's work. "Positions: Interview hash up Jean-Louis Houdebine and Fellow Scarpetta" evenhanded a wide-ranging discussion give it some thought touches given many female the polemics that Derrida's work has provoked.
Alan Bass, whose translation admonishment Writing sports ground Difference was highly praised for academic clarity, preciseness, and understandability, has unsatisfactory extremely serviceable critical make a written record of, full state under oath vital facts, including factual background.
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Posiciones: Entrevistas con Henri Ronse, Julia Kristeva, Jean-Louis Houdebine, Guy Scarpeta
the concepts i found most interesting in this collection by the essay they are in go as follows:
1) “Implications”
- the overabundant presence of “voice” in western writing and culture. this seems to refer not merely to authorial voice, but rather to the idea that writing is captured speech, its aural immortality.
- deconstruction is not a transgressing of the history of metaphysics, because in the act of surpassing something, you are still bound up with the thing and determined by that which you are surpassing
- the end of writing/meaning
2) semiology and grammatology
- the sign is metaphysical and is beyond in a certain sense, its object. in that sense it “delimits” its object.
- the sign as a word used because saussere was “lacking anything better” because the concept of the sign has always seemed so removed (ironically enough) from its meaning. when i think sign i think of a wooden thing showing a name for a nearby place, in other words, the sign itself is a sign (lol)
- “writing should erase itself before the plenitude of living speech” (
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Conversation with Julia Kristeva
AN INTERVIEW with JULIA KRISTEVA Julia Kristeva is a world famous semiotician, feminist theorist, psychoanalyst and at the same time an interesting creative writer. She was born in Bulgaria in 1941, but came to Paris in 1965 where she became immersed in Parisian intellectual life. Her acclaimed novel « Les Samouraïs » (1990) analyses the Parisian intellectual avant-garde to which she has belonged ever since. And though psychoanalysis remains one of the major orienting and formative dimensions of her work, especially as regards her reflections upon the nature of the feminine, she has also continued her research on the nature of language and examined the processes leading to the emergence of the work of art. As the theorist John Lechte points out, « because of the intimate link between art and the formation of subjectivity, Kristeva has always found art to be a particularly fruitful basis for analysis. » Since the 1960s, she has been a leading force in the critique of representation and her most recent book is a critical study of Colette’s work and life, that is to say, one of the numerous projects that she has been energetically working on. Q : When did you start getting interested in the notion of the « feminine » ? Was it with the exploration