Julia Kristeva offers an extensive and profound consideration of the nature of abjection. Drawing on Freud and Lacan, she analyzes the nature of attitudes toward repulsive subjects and examines the function of these topics in the writings of Louis-Ferdinand Celine, Marcel Proust, James Joyce, and other authors.

In Revolution in Poetic Language, Julia Kristeva explicates her foundational distinction between the semiotic and the symbolic and explores their interrelationships. Linking the psychosomatic to the literary and the literary to a larger political horizon, she questions the premises of linguistic, psychoanalytic, philosophical, and literary theories.

In Black Sun, Julia Kristeva addresses the subject of melancholia, examining this phenomenon in the context of art, literature, philosophy, the history of religion and culture, and psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression’s dark heart. Kristeva analyzes Holbein’s controversial 1522 painting The Body of the Dead Christ in the Tomb and makes revealing comments on the works of Marguerite Duras, Dostoyevsky, and Nerval. Black Sun takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated.

This book is concerned with the notion of the stranger—the foreigner, outsider, or alien in a country and society not their own—as well as the notion of strangeness within the self, a person’s deep sense of being, as distinct from outside appearance and their conscious idea of self. Julia Kristeva begins with the personal and moves outward by examining world literature and philosophy. She discusses the foreigner in Greek tragedy, in the Bible, and in the literature of the Middle Ages, Renaissance, Enlightenment, and the twentieth century. By considering the legal status of foreigners throughout history, Kristeva offers a different perspective on our own civilization.

Desire in Language traces the path of an investigation, extending over a period of ten years, into the semiotics of literature and the arts. But the essays of Julia Kristeva in this volume, though they often deal with literature and art, do not amount to either "literary criticism" or "art criticism." Their concern, writes Kristeva, "remains intratheoretical: they are based on art and literature in order to subvert the very theoretical, philosophical, or semiological apparatus." Probing beyond the discoveries of Sigmund Freud, Jacques Lacan, Roman Jakobson and others, Julia Kristeva proposes and tests theories centered on the nature and development of the novel, and on what she has defined as a signifying practice in poetic language and pictural works. Desire in Language fully shows what Roman Jakobson has called Kristeva's "genuine gift of questioning generally adopted 'axioms,' and her contrary gift of releasing various 'damned questions' from their traditional question marks."

In "Black Sun," Julia Kristeva addresses the subject of melancholia, examining this phenomenon in the context of art, literature, philosophy, the history of religion and culture, as well as psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression's dark heart.

In her discussion she analyzes Holbein's controversial 1522 painting "The Body of the Dead Christ in the Tomb," and has revealing comments on the works of Marguerite Duras, Dostoyevsky and Nerval. "Black Sun" takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated.

Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on para-philosophical modes of discourse.

"Desire in Language" traces the path of an investigation, extending over a period of ten years, into the semiotics of literature and the arts. But the essays of Julia Kristeva in this volume, though they often deal with literature and art, do not amount to either "literary criticism" or "art criticism." Their concern, writes Kristeva, "remains intratheoretical: they are based on art and literature in order to subvert the very theoretical, philosophical, or semiological apparatus."

Probing beyond the discoveries of Sigmund Freud, Jacques Lacan, Roman Jakobson and others, Julia Kristeva proposes and tests theories centered on the nature and development of the novel, and on what she has defined as a signifying practice in poetic language and pictural works. "Desire in Language" fully shows what Roman Jakobson has called Kristeva's "genuine gift of questioning generally adopted 'axioms, ' and her contrary gift of releasing various 'damned questions' from their traditional question marks."

This book is concerned with the notion of the "stranger" -the foreigner, outsider, or alien in a country and society not their own- as well as the notion of strangeness within the self -a person's deep sense of being, as distinct from outside appearance and their conscious idea of self.

Kristeva begins with the personal and moves outward by examining world literature and philosophy. She discusses the foreigner in Greek tragedy, in the Bible, and in the literature of the Middle Ages, Renaissance, Enlightenment, and the twentieth century. She discusses the legal status of foreigners throughout history, gaining perspective on our own civilization. Her insights into the problems of nationality, particularly in France are more timely and relevant in an increasingly integrated and fractious world.

Her analysis deals with the role of narcissism and idealization in the formation of a love object. She accounts for the role of the death drive by coining the term "love/hate."

This book is concerned with the notion of the "stranger" -the foreigner, outsider, or alien in a country and society not their own- as well as the notion of strangeness within the self -a person's deep sense of being, as distinct from outside appearance and their conscious idea of self.

Kristeva begins with the personal and moves outward by examining world literature and philosophy. She discusses the foreigner in Greek tragedy, in the Bible, and in the literature of the Middle Ages, Renaissance, Enlightenment, and the twentieth century. She discusses the legal status of foreigners throughout history, gaining perspective on our own civilization. Her insights into the problems of nationality, particularly in France are more timely and relevant in an increasingly integrated and fractious world.

The linking of psychosomatic to literary and literary to a larger political horizon raises the question of conservative premises to linguistic, pyschoanalystic, philisophical, and literary theories and criticisms of such.