Julia Kristeva

Wolves have invaded the seaside resort town of Santa Varvara, a fictional postindustrial city in Eastern Europe, killing thousands of people, but no one will speak of it except a Latin professor known as the Old Man. Part detective story, part fable, this novel is set in a mythical landscape where the boundaries between East and West, civilization and barbarianism have been erased. Narrated by a French journalist—Stephanie Delacour, Julia Kristeva’s alter ego—The Old Man and the Wolves shows the great thinker at the height of her literary powers.

Underlying Julia Kristeva’s Nations Without Nationalism is the idea that otherness—whether it be ethnic, religious, social, or political—needs to be understood and accepted in order to guarantee social harmony. This book is an impassioned plea for tolerance and for commonality, aimed at a world brimming over with racism and xenophobia. Responding to the rise of neo-Nazi groups in Germany and Eastern Europe and the popularity of the National Front in France, Kristeva turns to the origins of the nation-state to illustrate the problematic nature of nationalism and its complex configurations in subsequent centuries. For Kristeva, the key to commonality can be found in Montesquieu’s esprit general—his notion of the social body as a guaranteed hierarchy of private rights. Nations Without Nationalism also contains Kristeva’s thoughts on Harlem Desir, the founder of the antiracist organization SOS Racisme; the links between psychoanalysis and nationalism; the historical nature of French national identity; the relationship between esprit general and Volksgeist; Charles de Gaulle’s complex ideas involving the “nation” and his dream of a unified Europe. Nations Without Nationalism reflects a passionate commitment to enlightenment and social justice. As ethnic strife persists in Europe and the United States, Kristeva’s humanistic message carries with it a special resonance and urgency.

Julia Kristeva’s dazzling fictional debut is an intellectual adventure, full of vitality, sensuousness, and sustained lyricism. Reminiscent of The Mandarins, Simone de Beauvoir’s 1954 masterpiece, The Samurai brilliantly reconstructs a pivotal era of postwar French history—Paris in the late 1960s—and at the same time records the political disillusionment and ferment of a generation. In a brisk narrative spanning three continents, the novel follows an array of passionate and promiscuous intellectual warriors—the “samurai” for whom “writing is the only lasting act of pleasure and war combined.”Readers will recognize finely sketched and often searing portraits of figures such as Lacan, Derrida, Barthes, Althusser, and many others. With an authorial voice that modulates between the erotic and the meditative, the ironic and the rancorous, The Samurai moves from Paris to Mao’s China—where revolutionary idealism collides with cold pragmatism—to New York and back to Paris. Over a twenty-five year period, the characters experience countless battles involving love, depression, maternity, and disease, while the various themes of the text—language, prison, madness, emotional ruptures—are brought to fruition with astounding insight. This is a novel whose enormous energy derives from the juxtaposition of vital ideas set on a broad historical canvas. Fluid and captivating, The Samurai brilliantly illuminates both the constantly shifting terrain of human relationships and the manifold psychological entanglements of Left Bank intellectuals.

Freud and psychoanalysis taught us that rebellion is what guarantees our independence and our creative abilities. But in the contemporary "entertainment" culture, is rebellion still a viable option? Is it still possible to build and embrace a counterculture? For whom—and against wha? ulia Kristeva illustrates the advances and impasses of rebel culture through the experiences of three twentieth-century writers: the existentialist Jean-Paul Sartre, the surrealist Louis Aragon, and the theorist Roland Barthes. These figures, according to Kristeva, took part in a revolution against accepted notions of identity—of one’s relation to others. She places their accomplishments in the context of other revolutionary movements in art, literature, and politics, also offering an illuminating discussion of Freud’s groundbreaking work on rebellion.

Julia Kristeva, herself a product of the famous May 1968 Paris student uprising, has long been fascinated by the concepts of rebellion and revolution. But is it still possible to build and nurture a culture of revolt in today’s world? In this book, Kristeva examines the manner in which three of the most unsettling modern writers—Louis Aragon, Jean-Paul Sartre, and Roland Barthes—affirmed their personal rebellions. She then ponders the future of rebellion, maintaining not only that political revolt is mired in compromise but also that an essential component of European culture—a culture of doubt and criticism—is losing its moral and aesthetic force.

"These days, who still has a soul?" asks Julia Kristeva in this psychoanalytic exploration. Drawing on her many years of experience as a practicing psychoanalyst, Kristeva reveals to readers a new kind of patient, symptomatic of an age of political upheaval, mass mediated culture, and the dramatic overhaul of familial and sexual mores. New Maladies of the Soul poses a troubling question about the human subject in the West today: Is the psychic space that we have traditionally known disappearin? risteva finds that the psychoanalytic models of Freud and Lacan need to be reread in light of this new patient, a product of the contemporary moral crisis of values resulting from a loss of ideology and a deterioration of belief. By revisiting Freud and Lacan, Kristeva offers the hope of a new psychoanalysis. Each patient, she contends, suffers from a unique malady which must be targeted. In the first half of the book, Kristeva offers a series of detailed case studies that reinforce her provocative theoretical notions. These case studies illustrate today's "new maladies"—common psychiatric disturbances as they are manifested in today's patient. Drawing on the work of the psychologist Helene Deutsch and the writer Germaine de Stael. Kristeva turns her attention to women's experiences and contributions. Delving into art, literature, autobiography, and theories of language, she continues with an exploration of cultural products ranging from the Bible to the work of Leonardo da Vinci. Kristeva offers the hope that these maladies harbor new creative potential and new hope for the soul—if we can comprehend their effect on the individual and collective experiences of our time.