Hatred and Forgiveness

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Julia Kristeva refracts the impulse to hate (and our attempts to subvert, sublimate, and otherwise process it) through psychoanalysis and text, exploring worlds, women, religion, portraits, and the act of writing. Her inquiry spans themes, topics, and figures central to her writing, and her paths of discovery advance the theoretical innovations that are so characteristic of her thought.

Kristeva rearticulates and extends her analysis of language, abjection, idealization, female sexuality, love, and forgiveness. She examines the "maladies of the soul," utilizing examples from her practice and the ailments of her patients, such as fatigue, irritability, and general malaise. She sources the Bible and texts by Marguerite Durgaas, St. Teresa of Avila, Roland Barthes, Simone de Beauvoir, and Georgia O'Keefe. Balancing political calamity and individual pathology, she addresses internal and external catastrophes and global and personal injuries, confronting the nature of depression, obliviousness, fear, and the agony of being and nothingness.

Throughout Kristeva develops the notion that psychoanalysis is the key to serenity, with its processes of turning back, looking back, investigating the self, and refashioning psychical damage into something useful and beautiful. Constant questioning, Kristeva contends, is essential to achieving the coming to terms we all seek at the core of forgiveness.

Columbia University Press

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Editorial Reviews

Publishers Weekly
Religion, art, fiction, and the psyche are probed but rarely illumined in these murky philosophical treatises, culled from the author's essays, lectures, case studies, and interviews. Kristeva (Hannah Arendt), a French linguist, novelist, and psychoanalyst, explores eclectic topics, including Christianity's conceptions of feminine beauty, the psychological context of cancer, and the crassness of the publishing industry. The title essay investigates the origins of human personality in "abjection," a psychic gag reflex in which "I give birth to myself through the violence of sobbing and vomiting." Unfortunately, Kristeva's cryptic, ex cathedra style--"As for the hysteric, her erotomania tries to resolve her interminable oedipal and the bisexuality it commands through amorous exaltation: the infinite quest for an object whose absence is filled by the God of monotheists"--rarely throws a coherent line of argument to the floundering reader. Her prose is almost a parody of self-consciously difficult academic writing, one in which the arcane terminologies and mannered rhetorical tics of Freudianism, feminism, and "French theory" clamor for dominance. The result is a thicket of impenetrable jargon. (Jan.)
Julia Kristeva's book is a memorable source of reflections on the temptation and quest of being...

— Kerrin A. Jacobs

Metapsychology - Kerrin A. Jacobs
Julia Kristeva's book is a memorable source of reflections on the temptation and quest of being...
From the Publisher
Praise for Julia Kristeva:

"Julia Kristeva is a figure of far-reaching eloquence."—Washington Post

"Julia Kristeva is one of the leading voices in contemporary French criticism, on a par with such names as Genette, Foucault, Greimas and others."—Paul de Man

"Julia Kristeva changes the place of things: she always destroys the latest preconception, the one we thought we could be comforted by, the one of which we could be proud; what she displaces is the illusion that it has all been said already, that is, she removes the pressure of the signified—in a word, stupidity; what she subverts is authority—that of monological science, of filiation."—Roland Barthes

"Both readers and listeners, whether agreeing or in stubborn disagreement with Julia Kristeva, feel indeed attracted to her contagious voice and to her genuine gift of questioning generally adopted 'axioms,' or to her contrary gift of releasing various 'damned questions' from their traditional question mark."—Roman Jakobson

"A formidable cultural historian and critic."—Library Journal

"Julia Kristeva takes us through an adventure in innovative reading whose daring and vigor have rarely been matched in the annals of modern criticism."—Philip Lewis, Cornell University

Columbia University Press

Years Work in Critical and Cultural Theory - Marios Constantinou and Maria Margaroni
successful in carrying over to the English-speaking public the contemporary tonalities of Kristeva's voice.
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Product Details

Meet the Author

Julia Kristeva is professor of linguistics at the Université de Paris VII and author of many acclaimed works and novels, including This Incredible Need to Believe, Murder in Byzantium, Strangers to Ourselves, New Maladies of the Soul, Time and Sense, Hannah Arendt, and Melanie Klein. She is the recipient of the Hannah Arendt Prize for Political Thought and the Holberg International Memorial Prize.

Jeanine Herman is the translator of volumes 1 and 2 of Julia Kristeva's The Powers and Limits of Psychoanalysis and her translation of Julien Gracq's Reading Writing was a finalist for the French-American Foundation Translation Prize.

Columbia University Press

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Table of Contents

Foreword, by Pierre-Louis Fort I. Worlds 1. Thinking About Liberty in Dark Times2. Secularism: "Values" at the Limits of Life3. Liberty, Equality, Fraternity and... Vulnerability II. Women 4. On Parity, Again; or, Women and the Sacred5. From Madonnas to Nudes: A Representation of Female Beauty6. The Passion According to Motherhood7. The War of the Sexes Since Antiquity8. Beauvoir, Presently9. Fatigue in the Feminine III. Psychoanalyzing 10. The Sobbing Girl; or, On Hysterical Time11. Healing, a Psychical Rebirth12. From Object Love to Objectless Love13. Desire for Law14. Language, Sublimation, Women15. Hatred and Forgiveness; or, From Abjection to Paranoia16. Three Essays; or, the Victory of Polymorphous Perversion IV. Religion 17. Atheism18. The Triple Uprooting of Israel19. What Is Left of Our Loves? V. Portraits 20. The Inevitable Form21. A Stranger22. Writing as Strangeness and Jouissance VI. Writing 23. The "True-Lie," Our Unassailable Contemporary24. Murder in Byzantium; or, Why I "ship myself on a voyage" in a NovelNotesNotes on the Origins of the TextsBibliographyIndex

Columbia University Press

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