Kristeva, Julia and Sylvere Lotringer (Ed.), (2002), “Revolt She Said” An Interview By Philippe Petit, New York, Semiotext(e), 138p.

--

Anti-Oedipus en-procés : a comparative analysis of Kristeva and Deleuze & Guattari

The present thesis is an attempt to bring into dialogue what appear to be two radically different approaches of negotiating subjectivity in late Western Modernity. Here the thought of Julia Kristeva as well as Gilles Deleuze and Felix Guattari are fully engaged. These thinkers, the latter two being considered as one, have until now remained strangers to one another. Consequently much confusion has amassed concerning their respective philosophical, as well as social/political projects. I take up the position that Deleuze and Guattari's account of subjectivity is a commendable attempt to understand a particular type of historical subject: late modern Western man. However I claim that their account comes up short insofar as I argue that they lack the theoretical language in order to fully, and successfully, make their point. Thus I argue that their system does not stand up to its own claims. On the contrary, by embracing the psychoanalytic tradition - staying rather close to the Freudian and Kleinian schools of thought - I argue that it is in fact Kristeva that is better equipped to provide an account of this particular subject. Considerable time is invested in fleshing out the notion of the Other insofar as this Other is central to the constitution of subjectivity. This Other - insofar as this Other is to be found in Kristeva's notion of the chora -- is something I claim that Deleuze and Guattari simply undervalued.

Me ja muukalaiset - toiseuteen tuomittuja?

Kirjallisuusarvostelu

Fragmentteja Derridasta

Kirjallisuusarvostelu

Entre fronteiras: a escrita imigrante de Julia Alvarez em How the García girls lost their Accents

This master s thesis aims at investigating the way in which diasporic subjects in the novel How the García Girls Lost their Accents (1992) cope with the clash of two cultures the Caribbean one, from the Dominican Republic, and the North-American one, from the U.S., as well as the implications of such negotiations in the lives of immigrants, once it apparently depicts the plight of those who are torn between mother-lands and mother-tongues (IYER, 1993, 46). At the same time, the implications of such negotiations in the lives of immigrants are relevant issues in the writing of Julia Alvarez. For this, there is the analysis of the uses of family memories as one of the main strategies immigrant writers possess to recall their identities. Moreover, this thesis will also consider the language issue for the construction of the immigrant identity insofar as bilingualism is a key factor in the negotiation the García girls must effect between their Caribbean and their American halves in order to understand where they stand in the contemporary world. In order to build a theoretical framework that supports this master s thesis, we list the works of Homi K. Bhabha (1990, 1996, 2003, 2005), Stuart Hall (2001, 2003), Julia Kristeva (1994), Salman Rushdie (1990, 1994), Sonia Torres (2001, 2003) among other contributions that were crucial to the completion of this academic research

Writing the body of the mother: Narrative moments in Tsushima Yuko, Ariyoshi Sawako and Enchi Fumiko

This discussion argues the transformative potential inherent in the corporeal experience of motherhood as represented in selected textual moments of Japanese narrative. Narratives that address the experiences of the body of the mother are informed and given substance by an intense physicality, and thus have the potential to contest processes of social inscription in addition to suggesting alternative possibilities for all readers, not just those occupying an embodied maternal space. The discussion features brief events from the work of three writers who have written as mothers: Tsushima Y(u)macrko, Ariyoshi Sawako and Enchi Fumiko. In Yama o hashiru onna (1980; translated as Woman Running in the Mountains, 1991), Tsushima Y(u)macrko invites the reader to consider the embodied response to light of Takiko, a young pregnant woman. Emiko, the protagonist of Hishoku (Without Colour, 1967) by Ariyoshi Sawako, is the Japanese wife of an African American and has just given birth to a child. The daughter protagonist in Enchi Fumiko's 'Kami' ('Hair', 1957) operates a hairdressing business that is viable only with her mother's unpaid labour. The narratives are read through a matrix of post-structuralist theories of embodiment, drawing on the work of writers such as Julia Kristeva, Luce Irigaray and Elizabeth Grosz.