Kristeva Quotes & Sayings

One who is happy being a cosmopolitan shelters a shattered origin in the night of his wandering. — Julia Kristeva

To be deprived of parents - is that where freedom starts? — Julia Kristeva

He is a foreigner, he is from nowhere, from everywhere, citizen of the world, cosmopolitan. Do not send him back to his origins. — Julia Kristeva

Today's milestone is human madness. Politics is a part of it, particularly in its lethal outbursts. Politics is not, as it was for Hannah Arendt, the field where human freedom is unfurled. The modern world, the world of world war, the Third World, the underground world of death that acts upon us, do not have the civilized splendor of the Greek city state. The modern political domain is massively, in totalitarian fashion, social, leveling, exhausting. Hence madness is a space of antisocial, apolitical, and paradoxically free individuation — Julia Kristeva

For the space that engrosses the deject, the excluded, is never one, nor homogeneous, nor totalizable, but essentially divisible, fold-able, and catastrophic. A deviser of territories, languages, works, the deject never stops demarcating his universe whose fluid confines- for they are constituted of a non-object, the abject- constantly question his solidity and impel him to start afresh. A tireless builder, the deject is in short a stray. He is on a journey, during the night, the end of which keeps receding. — Julia Kristeva

When the starry sky, a vista of open seas, or a stained-glass window shedding purple beams fascinate me, there is a cluster of meaning, of colors, of words, of caresses, there are light touches, scents, sighs, cadences that arise, shroud me, carry me away, and sweep me beyond the things I see, hear, or think, The "sublime" object dissolves in the raptures of a bottomless memory. It is such a memory, which, from stopping point to stopping point, remembrance to remembrance, love to love, transfers that object to the refulgent point of the dazzlement in which I stray in order to be. — Julia Kristeva

Music, rhythm, rigadoon, without end, for no reason. — Julia Kristeva

The clean and proper (in the sense of incorporated and incorporable) becomes filthy, the sought-after turns into banished, fascination into shame. Then, forgotten time crops up suddenly and condenses into a flash of lightning an operation that, if it were though out, would involve bringing together the two opposite terms but, on account of that flash, is discharged like thunder. The time of abjection is double: a time of oblivion and thunder, of veiled infinity and the moment when revelation bursts forth. — Julia Kristeva

But by the way, who is the murderer? The one who does not know my relatives, or myself, as I erect my new life like a fragile mausoleum where their shadowy figure is integrated, like a corpse, at the source of my wandering? — Julia Kristeva

They are, in a sense, two sides of the same coin: women are, on the one hand, subjects of an extremely real and abject (as Julia Kristeva put it) body and denigrated sexuality; on the other, the proliferation of images, and their digitalisation produces more and more abstract and air-brushed representations of impossible female bodies. Both indicate, certainly, a "lack of progress." But, one hopes, discussions and resistance are emerging in response. — Laura Mulvey

That faith be analyzable does not necessarily imply a method for getting by without it ... — Julia Kristeva

Or should one recognize that one becomes a foreigner in another country because one is already a foreigner from within? — Julia Kristeva

To be of no account to others. No one listens to you. — Julia Kristeva

The other that will guide you and itself through this dissolution is a rhythm, text, music, and within language, a text. But what is the connection that holds you both together? Counter-desire, the negative of desire, inside-out desire, capable of questioning (or provoking) its own infinite quest. Romantic, filial, adolescent, exclusive, blind and Oedipal: it is all that, but for others. It returns to where you are, both of you, disappointed, irritated, ambitious, in love with history, critical, on the edge and even in the midst of its own identity crisis; a crisis of enunciation and of the interdependence of its movements, an instinctual drive that descends in waves, tearing apart the symbolic thesis. — Julia Kristeva

The depressed person is a radical, sullen atheist. — Julia Kristeva

The phobic has no other object than the abject. But that word, "fear"- a fluid haze an elusive clamminess- no sooner has it cropped up than it shades off like a mirage and permeates all words of the language with nonexistence, with a hallucinatory, ghostly glimmer. Thus, fear having been bracketed, discourse will seem tenable only if it ceaselessly confront that otherness, a burden both repellent and repelled, a deep well of memory that is unapproachable and intimate: the abject. — Julia Kristeva

Pregnancy = "the slow, difficult, and delightful apprenticeship in attentiveness, gentleness, forgetting oneself. The ability to succeed in this path without masochism and without annihilating one's affective, intellectual, and professional personality - such would seem to be the stakes to be won through guiltless maternity. — Julia Kristeva

Love is the time and space where "I" give myself the right to be extraordinary. — Julia Kristeva

Significance is inherent in the human body. — Julia Kristeva

Abjection is above all ambiguity. Because, while releasing a hold, it does not radically cut off the subject from what threatens it
on the contrary, abjection acknowledges it to be in perpetual danger. — Julia Kristeva

[the abject] is simply a frontier, a repulsive gift that the Other, having become alter ego, drops so that the "I" does not disappear in it but finds, in that sublime alienation, a forfeited existence. — Julia Kristeva

The foreigner's friends, aside from bleeding hearts who feel obliged to do good, could only be those who feel foreign to themselves. — Julia Kristeva

Since he has nothing, since he is nothing, he can sacrifice everything. — Julia Kristeva

Can the beautiful be sad? Is beauty inseparable from the ephemeral and hence from mourning? Or else is the beautiful object the one that tirelessly returns following destructions and wars in order to bear witness that there is survival after death, that immortality is possible? — Julia Kristeva