Revolution in Poetic Language. by Julia Kristeva. Outline. I. Introduction II. The Semiotic and the Symbolic 2. The Semiotic Chora Ordering the Drive 5. The Thetic: Rupture and/or Boundary 12. Genotext and Phenotext III. Examples for Practice . Introduction.
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by Julia Kristeva
II. The Semiotic and the Symbolic
III. Examples for Practice
– the infinite possibilities of language
The facilitation and the structuring disposition of drives
Displacement and condensation of energies and their inscription (69)
semiotic “chora”– rupture and articulation (rhythm)
– a nonexpressive totality formed by the drives and their stases in a motility(運動性 ) that is as full of movement as it is regulated.
From Plato’s “chora”–mobile and uncertain articulation (different from disposition)
Our discourse—all discourse—moves with and against the chora in the sense that it simultaneously depends upon and refuses it.Semiotic Process and “chora”
A sign, a position, nor a signfier
A model or copy
Generated in order to attain to this signifying position
Precedes and underlines figuration and thus specularization
Vocal and kinetic rhythm
A receptacle, nourishing and maternal (2171)
[physical social] Its Vocal and gestural organization is subject to …an objective ordering, which is dictated by natural or socio-historical constraints (2171)Chora
“Thus all colors, but blue in particular, would have a noncentered or decertering effect, lessening both object identification and phenomenal fixation. They thereby return the subject to the archaic moment of its dialectic, that is, before the fixed, specular “I”, but while in process of becoming this “I” by breaking away from instinctual, biological (and also maternal) dependence.” (Desire in Language 225)
Rejected by and split from the child
“motherhood” as “a luminous spatialization, the ultimate language of jouissance at the far limits of repression, where bodies, identities, and signs are begotten” (Desire in Language 269)
1. existentialism ("existence precedes essence"); alone in the void (alienation);
2. the Cold War: post-Hiroshima; the Soviet Union gets the bomb in 1949;
3. the 50's beat generation (pushing to the edge of one's consciousness.)
4. Jungian analysis (the collective unconscious; the archetype; mythic structures embedded in everyone's unconscious).
5. Inspired by jazz improvisation; listened to records by Charlie Parker while he painted. Also influenced by Native American sand painting and the idea that painting could be ritualistic, a rites of passage.
(source: http://www.csulb.edu/~karenk/20thcwebsite/439mid/ah439mid-Info.00011.html )