Kristeva

Dans presque toutes les œuvres de Milan Kundera, l'écrivain tchèque, un sentiment de haine vague mais omniprésent apparaît dans la conscience des personnages. Bien qu’ils ne le confessent pas ouvertement, la manière dont ils traitent leur corps et les corps des autres révèle un sentiment profond de dégout et d’abjection envers celui-ci. Cette haine du corps est en partie enracinée dans le phénomène inconscient de l'abjection ainsi que dans le conflit entre le moi et le corps. En effet, on pourrait dire que dans ses œuvres, Kundera confronte intentionnellement les personnages à des situations où ils doivent faire face à leur corps, remettant en question leur rapport avec celui-ci. Cette confrontation prend parfois une forme violente. Dans cet article nous allons examiner psychologiquement les origines de cette violence d’après les idées de Kristeva et Lacan, d'abord dans le roman La vie est ailleursdans les chapitres concernant la rencontre de la mère avec le peintre, puis dans L'immortalité, là où la fille tente de se suicider sur l'autoroute.

The present article studies Quranic quotations in the poetry of Mohammad Iqbal Lahori based on the approach of intertextuality. Iqbal is one of the greatest poets and intellectuals of the Eastern Muslim world. Quran is a source of inspiration both in his life and poetic career. His poetry is interwoven with Quran through intertextual Quotations. These Quranic quotations are central to the production of meaning in Iqbal’s poems. The present research limits itself to Julia Kristeva’s concept of intertextuality. Kristeva (1980) states that meaning is not inherent in the text rather it is produced through the intertextual relations between texts. This research aims to apply Plett’s (1990) set of structural codes of quotations to Iqbal’s poetic text to expose the role of scriptural quotations in his poetry. The findings of this paper show that Quranic quotations mostly follow the rules of general quotations; except that as authoritative words they are open to some transformations at surface structure but not at deep structure. The semantic fixity of Quranic quotations does not prevent their application as means of power for purposes not endorsed by Quranic instructions. Finally, the authoritative nature of Quranic quotations allows Iqbal not to employ quotation markers in his text wherever he makes use of them.

Reaching out to history and subject in terms of meaning variation, Kristeva could show that language cannot simply be a Saussurean sign system. Rather, she went on to delineate that language, beyond signs, is associated with a dynamic system of signification where the ''speaking subject'' is constantly involved in processing. Julia Kristeva, a French critic, psychoanalyst, theoretician, a post-structuralist philosopher of Hungarian origin, dwells upon ideas from linguistics, psychoanalysis, sociology while representing text analysis, sign and subject from emotional and motivational perspectives.  She believes that processing language structure and subject depend upon semiotic and symbolic domains that emerge in the scope of ''signifiance'' process whereby the semiotic domain processes and primary structures against the symbolic realm. In Kristeva''s view, the sign Chora, while being the milieu for energy, dynamism, and motility, shows the internal and signification drives of the language, and will involve changes in signification mutation of subjectivity.  

In Richard Matheson’s I Am Legend (1954), vampires and the protagonist are regarded as the incumbents of legend-based subject positions respectively. This full circle and chiasmastic changeability in the incumbency of legend-based subject positions have been read through several postcolonial and racial critical paradigms. The present study, while acknowledging the merit of these readings, puts the changeable incumbencies of legend-based subject positions of this novel within Julia Kristeva’s critical conceptualization of chora. Such a reading acknowledges the repressive features of becoming a legend in symbolic order of signification, and at the same time, bespeaks the eruptive and threatening inklings of the semiotic and irrepresentable aspects of becoming a legend for such orders. The reading also manages to distance itself from those studies and analyses which see in legends some transcendental or holy teleology. This study argues that it is the very irrepresentable but materialistic and heterogeneous developments in the process of legend formation which make the incumbencies of legends motile, semiotically enabling and eruptive, and overall choric. In the novel’s post-apocalyptic, always-changing and chaotic world, becoming a legend can ensure one’s symbolically irrepresentable but semiotically perpetual survival.