Julia Kristeva - Wikipedia https://en.wikipedia.

org/wiki/Julia_Kristeva

Julia Kristeva
Julia Kristeva (French: [kʁisteva]; Bulgarian: Юлия Кръстева; born 24 June
Julia Kristeva
1941) is a Bulgarian-French philosopher, literary critic, semiotician, psychoanalyst,
feminist, and, most recently, novelist, who has lived in France since the mid-1960s.
She is now a professor emeritus at the University Paris Diderot. The author of
more than 30 books, including Powers of Horror, Tales of Love, Black Sun:
Depression and Melancholia, Proust and the Sense of Time, and the trilogy Female
Genius, she has been awarded Commander of the Legion of Honor, Commander of
the Order of Merit, the Holberg International Memorial Prize, the Hannah Arendt
Prize, and the Vision 97 Foundation Prize, awarded by the Havel Foundation.

Kristeva became influential in international critical analysis, cultural studies and

feminism after publishing her first book, Semeiotikè, in 1969. Her sizeable body of
work includes books and essays which address intertextuality, the semiotic, and
abjection, in the fields of linguistics, literary theory and criticism, psychoanalysis,
biography and autobiography, political and cultural analysis, art and art history.
She is prominent in structuralist and poststructuralist thought.

Julia Kristeva in Paris, 2008

Kristeva is also the founder of the Simone de Beauvoir Prize committee.[3]
Born Юлия Кръстева
24 June 1941
Sliven, Bulgaria
Contents
Residence France
Life
Nationality French / Bulgarian
Work
The "semiotic" and the "symbolic" Alma mater University of Sofia
Anthropology and psychology Spouse(s) Philippe Sollers
Feminist Awards Holberg International
Denunciation of identity politics Memorial Prize
Novelist Hannah Arendt
Honors Award for Political
Thought
Scholarly reception
VIZE 97 Prize
Alleged collaboration with the Communist Regime in Bulgaria
Selected writings Era Contemporary
Novels
philosophy
See also
Region Western philosophy
Notes
School Continental
External links
philosophy
Psychoanalysis
Life Structuralism
Poststructuralism
Born in Sliven, Bulgaria to Christian parents, Kristeva is the daughter of a church
accountant. Kristeva and her sister attended a Francophone school run by French feminism[1]
Dominican nuns. Kristeva became acquainted with the work of Mikhail Bakhtin at Main Philosophy of
this time in Bulgaria. Kristeva went on to study at the University of Sofia, and while interests
language
a postgraduate there obtained a research fellowship that enabled her to move to
Semiotics · Literary
France in December 1965, when she was 24.[4] She continued her education at
criticism
several French universities, studying under Lucien Goldmann and Roland Barthes,
Philosophy of
among other scholars.[5][6] On August 2, 1967, Kristeva married the novelist

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Philippe Sollers,[7] né Philippe Joyaux. literature

Kristeva taught at Columbia University in the early 1970s, and remains a Visiting
Psychoanalysis
Professor.[8] She has also published under the married name Julia Joyaux.[9][10][11] Feminism
Notable The "semiotic" of the
ideas pre-mirror stage
Work
Nature of abjection
After joining the 'Tel Quel group' founded by Sollers, Kristeva focused on the
Intertextuality
politics of language and became an active member of the group. She trained in
psychoanalysis, and earned her degree in 1979. In some ways, her work can be seen Influences
as trying to adapt a psychoanalytic approach to the poststructuralist criticism. For Website kristeva.fr (http://krist
example, her view of the subject, and its construction, shares similarities with eva.fr/)
Sigmund Freud and Lacan. However, Kristeva rejects any understanding of the
subject in a structuralist sense; instead, she favors a subject always "in process" or "on trial".[12] In this way, she contributes to
the poststructuralist critique of essentialized structures, whilst preserving the teachings of psychoanalysis. She travelled to
China in the 1970s and later wrote About Chinese Women (1977).[13][14][15][16][17][18]

The "semiotic" and the "symbolic"

One of Kristeva's most important contributions is that signification is composed of two elements, the symbolic and the
semiotic, the latter being distinct from the discipline of semiotics founded by Ferdinand de Saussure. As explained by
Augustine Perumalil, Kristeva's "semiotic is closely related to the infantile pre-Oedipal referred to in the works of Freud, Otto
Rank, Melanie Klein, British Object Relation psychoanalysis, and Lacan's pre-mirror stage. It is an emotional field, tied to the
instincts, which dwells in the fissures and prosody of language rather than in the denotative meanings of words."[19]
Furthermore, according to Birgit Schippers, the semiotic is a realm associated with the musical, the poetic, the rhythmic, and
that which lacks structure and meaning. It is closely tied to the "feminine", and represents the undifferentiated state of the
pre-Mirror Stage infant.[20]

Upon entering the Mirror Stage, the child learns to distinguish between self and other, and enters the realm of shared cultural
meaning, known as the symbolic. In Desire in Language (1980), Kristeva describes the symbolic as the space in which the
development of language allows the child to become a "speaking subject," and to develop a sense of identity separate from the
mother. This process of separation is known as abjection, whereby the child must reject and move away from the mother in
order to enter into the world of language, culture, meaning, and the social. This realm of language is called the symbolic and is
contrasted with the semiotic in that it is associated with the masculine, the law, and structure. Kristeva departs from Lacan in
the idea that even after entering the symbolic, the subject continues to oscillate between the semiotic and the symbolic.
Therefore, rather than arriving at a fixed identity, the subject is permanently "in process". Because female children continue to
identify to some degree with the mother figure, they are especially likely to retain a close connection to the semiotic. This
continued identification with the mother may result in what Kristeva refers to in Black Sun (1989) as melancholia
(depression), given that female children simultaneously reject and identify with the mother figure.

It has also been suggested (e.g., Creed, 1993) that the degradation of women and women's bodies in popular culture (and
particularly, for example, in slasher films) emerges because of the threat to identity that the mother's body poses: it is a
reminder of time spent in the undifferentiated state of the semiotic, where one has no concept of self or identity. After
abjecting the mother, subjects retain an unconscious fascination with the semiotic, desiring to reunite with the mother, while
at the same time fearing the loss of identity that accompanies it. Slasher films thus provide a way for audience members to
safely reenact the process of abjection by vicariously expelling and destroying the mother figure.

Kristeva is also known for her adoption of Plato’s idea of the chora, meaning "a nourishing maternal space" (Schippers, 2011).
Kristeva’s idea of the chora has been interpreted in several ways: as a reference to the uterus, as a metaphor for the
relationship between the mother and child, and as the temporal period preceding the Mirror Stage. In her essay Motherhood
According to Giovanni Bellini from Desire in Language (1980), Kristeva refers to the chora as a "non-expressive totality
formed by drives and their stases in a motility that is full of movement as it is regulated." She goes on to suggest that it is the
mother's body that mediates between the chora and the symbolic realm: the mother has access to culture and meaning, yet
also forms a totalizing bond with the child.

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Kristeva is also noted for her work on the concept of intertextuality.

Anthropology and psychology

Kristeva argues that anthropology and psychology, or the connection between the social and the subject, do not represent each
other, but rather follow the same logic: the survival of the group and the subject. Furthermore, in her analysis of Oedipus, she
claims that the speaking subject cannot exist on his/her own, but that he/she "stands on the fragile threshold as if stranded on
account of an impossible demarcation" (Powers of Horror, p. 85).

In her comparison between the two disciplines, Kristeva claims that the way in
which an individual excludes the abject mother as a means of forming an identity,
is the same way in which societies are constructed. On a broader scale, cultures
exclude the maternal and the feminine, and by this come into being.

Feminist
Kristeva has been regarded as a key proponent of French feminism together with
Simone de Beauvoir, Hélène Cixous, and Luce Irigaray.[21][22] Kristeva has had a
remarkable influence on feminism and feminist literary studies[23][24] in the US
and the UK, as well as on readings into contemporary art[25][26] although her
relation to feminist circles and movements in France has been quite controversial.
Kristeva made a famous disambiguation of three types of feminism in "Women's
Time" in New Maladies of the Soul (1993); while rejecting the first two types,
including that of Beauvoir, her stands are sometimes considered rejecting
feminism altogether. Kristeva proposed the idea of multiple sexual identities
against the joined code of "unified feminine language".
Julia Kristeva in Paris in 2008

Denunciation of identity politics

Kristeva argues her writings have been misunderstood by American feminist academics. In Kristeva's view, it was not enough
simply to dissect the structure of language in order to find its hidden meaning. Language should also be viewed through the
prisms of history and of individual psychic and sexual experiences. This post-structuralist approach enabled specific social
groups to trace the source of their oppression to the very language they used. However, Kristeva believes that it is harmful to
posit collective identity above individual identity, and that this political assertion of sexual, ethnic, and religious identities is
ultimately totalitarian.[27]

Novelist
Kristeva wrote a number of novels that resemble detective stories. While the books maintain narrative suspense and develop a
stylized surface, her readers also encounter ideas intrinsic to her theoretical projects. Her characters reveal themselves mainly
through psychological devices, making her type of fiction mostly resemble the later work of Dostoevsky. Her fictional oeuvre,
which includes The Old Man and the Wolves, Murder in Byzantium, and Possessions, while often allegorical, also approaches
the autobiographical in some passages, especially with one of the protagonists of Possessions, Stephanie Delacour—a French
journalist—who can be seen as Kristeva's alter ego. Murder in Byzantium deals with themes from orthodox Christianity and
politics; she referred to it as "a kind of anti-Da Vinci Code".[28]

Honors
For her "innovative explorations of questions on the intersection of language, culture and literature", Kristeva was awarded
the Holberg International Memorial Prize in 2004. She won the 2006 Hannah Arendt Prize for Political Thought. She has also
been awarded Commander of the Legion of Honor, Commander of the Order of Merit, and the Vaclav Havel Prize.[29]

Scholarly reception

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Roman Jakobson said that "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,' and her contrary
gift of releasing various 'damned questions' from their traditional question marks."[30]

Roland Barthes comments that "Julia Kristeva changes the place of things: she always destroys the last prejudice, the one you
thought you could be reassured by, could be take [sic] pride in; what she displaces is the already-said, the déja-dit, i.e., the
instance of the signified, i.e., stupidity; what she subverts is authority -the authority of monologic science, of filiation."[31]

Ian Almond criticizes Kristeva's ethnocentrism. He cites Gayatri Spivak's conclusion that Kristeva's book About Chinese
Women "belongs to that very eighteenth century [that] Kristeva scorns" after pinpointing "the brief, expansive, often
completely ungrounded way in which she writes about two thousand years of a culture she is unfamiliar with".[32] Almond
notes the absence of sophistication in Kristeva's remarks concerning the Muslim world and the dismissive terminology she
uses to describe its culture and believers.[33] He criticizes Kristeva's opposition which juxtaposes "Islamic societies" against
"democracies where life is still fairly pleasant" by pointing out that Kristeva displays no awareness of the complex and
nuanced debate ongoing among women theorists in the Muslim world, and that she does not refer to anything other than the
Rushdie fatwa in dismissing the entire Muslim faith as "reactionary and persecutory".[34]

In Intellectual Impostures (1997), physics professors Alan Sokal and Jean Bricmont devote a chapter to Kristeva's use of
mathematics in her writings. They argue that Kristeva fails to show the relevance of the mathematical concepts she discusses
to linguistics and the other fields she studies, and that no such relevance exists.[35]

Alleged collaboration with the Communist Regime in

Bulgaria
In 2018, Bulgaria’s state Dossier Commission announced that Kristeva had been an agent for the Committee for State Security
under the code name "Sabina". She was supposedly recruited in June 1971.[36][37] Five years earlier she left Bulgaria to study
in France. Under the Communist regime, any Bulgarian who wanted to travel abroad had to apply for an exit visa and get an
approval from the Ministry of Interior. The process was long and difficult because anyone who made it to the west could
declare political asylum.[38] Kristeva has called the allegations "grotesque and false".[39] On 30 March, the state Dossier
Commission began publishing online the entire set of documents reflecting Kristeva's activity as an informant of the former
Committee for State Security.[40][41][42][43][44][45] She vigorously denies the charges.[46]

Neal Ascherson wrote: "...the recent fuss about Julia Kristeva boils down to nothing much, although it has suited some to
inflate it into a fearful scandal... But the reality shown in her files is trivial. After settling in Paris in 1965, she was cornered by
Bulgarian spooks who pointed out to her that she still had a vulnerable family in the home country. So she agreed to regular
meetings over many years, in the course of which she seems to have told her handlers nothing more than gossip about Aragon,
Bataille & Co. from the Left Bank cafés – stuff they could have read in Le Canard enchaîné... the combined intelligence value
of its product and her reports was almost zero. The Bulgarian security men seem to have known they were being played. But
never mind: they could impress their boss by showing him a real international celeb on their books..."[47]

Selected writings
Séméiôtiké: recherches pour une sémanalyse, Paris: Edition du Seuil, 1969. (English translation: Desire in Language: A
Semiotic Approach to Literature and Art, Oxford: Blackwell, 1980.)
La Révolution Du Langage Poétique: L'avant-Garde À La Fin Du Xixe Siècle, Lautréamont Et Mallarmé. Paris: Éditions du
Seuil, 1974. (Abridged English translation: Revolution in Poetic Language, New York: Columbia University Press, 1984.)
About Chinese Women. London: Boyars, 1977.
Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982.
The Kristeva Reader. (ed. Toril Moi) Oxford: Basil Blackwell, 1986.
In the Beginning Was Love: Psychoanalysis and Faith. New York: Columbia University Press, 1987.
Black Sun: Depression and Melancholia. New York: Columbia University Press, 1989.
Strangers to Ourselves. New York: Columbia University Press,1991.
Nations without Nationalism. New York: Columbia University Press, 1993.
New Maladies of the Soul. New York: Columbia University Press, 1995.
"Experiencing the Phallus as Extraneous." parallax issue 8, 1998.

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Crisis of the European Subject. New York: Other Press, 2000.

Reading the Bible. In: David Jobling, Tina Pippin & Ronald Schleifer (eds). The Postmodern Bible Reader. (pp. 92–101).
Oxford: Blackwell, 2001.
Female Genius: Life, Madness, Words: Hannah Arendt, Melanie Klein, Colette: A Trilogy. 3 vols. New York: Columbia
University Press, 2001.
Hannah Arendt: Life is a Narrative. Toronto: University of Toronto Press, 2001.
Hatred and Forgiveness. New York: Columbia University Press, 2010.
The Severed Head: Capital Visions. New York: Columbia University Press, 2011.
Marriage as a Fine Art (with Philippe Sollers). New York: Columbia University Press, 2016.
Other books on Julia Kristeva:

Irene Ivantcheva-Merjanska, Ecrire dans la langue de l'autre. Assia Djebar et Julia Kristeva. Paris: L'Harmattan, 2015.
Jennifer Radden, The Nature of Melancholy: From Aristotle to Kristeva, Oxford University Press, 2000.
Megan Becker-Leckrone, Julia Kristeva And Literary Theory, Palgrave Macmillan, 2005.
Sara Beardsworth, Julia Kristeva, Psychoanalysis and Modernity, Suny Press, 2004. (2006 Goethe Award Psychoanalytic
Scholarship, finalist for the best book published in 2004.)
Kelly Ives, Julia Kristeva: Art, Love, Melancholy, Philosophy, Semiotics and Psychoanalysis, Crescent Moon Publishing
Édition, 2010.
Kelly Oliver, Ethics, Politics, and Difference in Julia Kristeva's Writing, Routledge Édition, 1993.
Kelly Oliver, Reading Kristeva: Unraveling the Double-bind, Indiana University Press, 1993.
John Lechte, Maria Margaroni, Julia Kristeva: Live Theory , Continuum International Publishing Group Ltd, 2005.
Noëlle McAfee, Julia Kristeva, Routledge, 2003.
Griselda Pollock (Guest Editor) Julia Kristeva 1966-1996, Parallax Issue 8, 1998.
Anna Smith, Julia Kristeva: Readings of Exile and Estrangement, Palgrave Macmillan, 1996.
David Crownfield, Body/Text in Julia Kristeva: Religion, Women, and Psychoanalysis, State University of New York Press,
1992.

Novels
The Samurai: A Novel. New York: Columbia University Press, 1992.
The Old Man and the Wolves. New York: Columbia University Press, 1994.
Possessions: A Novel. New York: Columbia University Press, 1998.
Murder in Byzantium. New York: Columbia University Press, 2006.
Teresa, My Love: An Imagined Life of the Saint of Avila. New York: Columbia University Press, 2015.

See also
Capacity to be alone
Écriture féminine
Khôra
List of thinkers influenced by deconstruction

Notes
1. Kelly Ives, Cixous, Irigaray, Kristeva: The Jouissance of French Feminism, Crescent Moon Publishing, 2016.
2. Creech, James, "Julia Kristeva's Bataille: reading as triumph," (https://www.jstor.org/stable/464723?seq=1#page_scan_ta
b_contents) Diacritics, 5(1), Spring 1975, pp. 62-68.
3. Simone de Beauvoir Prize 2009 goes to the One Million Signatures Campaign in Iran (http://www.campaign4equality.info/
english/spip.php?article440) Archived (https://web.archive.org/web/20090201060949/http://www.campaign4equality.info/e
nglish/spip.php?article440) 2009-02-01 at the Wayback Machine, Change for Equality
4. Siobhan Chapman, Christopher Routledge, Key thinkers in linguistics and the philosophy of language, Oxford University
Press US, 2005, ISBN 0-19-518767-9, Google Print, p. 166 (https://books.google.com/books?id=VfrRiCQr4NAC&pg=PA1
66&lpg=PA166&source=bl&ots=mWY_IOLbHB&sig=rw5ohdVUBP3wlYz1OFa6Lhv5syk&hl=en&ei=HS4QSufhLpWZjAe-6
uipBg&sa=X&oi=book_result&ct=result&resnum=7#PPA166,M1)
5. Nilo Kauppi, Radicalism in French Culture: A Sociology of French Theory in the 1960s, Burlington, VT, 2010, p. 25.
6. Schrift, Alan D. (2006). Twentieth-century French Philosophy: Key Themes and Thinkers. Blackwell Publishing. p. 147.
ISBN 1-4051-3217-5.

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7. Benoît Peeters, Derrida: A Biography, Cambridge: Polity Press, 2013, pp. 176-77.
8. Riding, Alan, Correcting Her Idea of Politically Correct (https://www.nytimes.com/2001/07/14/arts/correcting-her-idea-of-p
olitically-correct.html?pagewanted=all). New York Times. 14 June 2001.
9. Library of Congress authority record for Julia Kristeva (http://id.loc.gov/authorities/names/n50045983.html), Library of
Congress
10. BNF data page (http://data.bnf.fr/11910116/julia_kristeva/), Bibliothèque nationale de France
11. Hélène Volat, Julia Kristeva: A Bibliography (http://hvolat.netai.net/Kristeva/kristlan.htm) (bibliography page for Le
Langage, cet inconnu (1969), published under the name Julia Joyaux).
12. McAfee, Noêlle (2004). Julia Kristeva (https://books.google.com/books?id=1F4oOL1PACMC&pg=PA38&lpg=PA38&dq=s
ujet+en+proces+on+trial&source=bl&ots=Pznawz_E9-&sig=mpwA6v1rhMKk3izt3ph5SdArfgk&hl=en&sa=X&ei=S9aMUfS
3EcqH0AW7qoDYBQ&ved=0CDwQ6AEwAg#v=onepage&q=sujet%20en%20proces%20on%20trial&f=false). London:
Routledge. p. 38. ISBN 0-203-63434-9.
13. "State University of New York at Stony Brook" (https://web.archive.org/web/20041120233104/http://ms.cc.sunysb.edu/~hv
olat/kristeva/krist01.htm). Archived from the original (http://ms.cc.sunysb.edu/~hvolat/kristeva/krist01.htm) on 2004-11-20.
Retrieved 2004-11-23.
14. Tate Britain Online Event: Julia Kristeva (http://www.tate.org.uk/context-comment/video/julia-kristeva-on-genie-feminine-a
nd-art)
15. Who's who in Les samouraïs by (http://www.pileface.com/sollers/article.php3?id_article=49)Kathleen O'Grady
16. An Interview with Josefina Ayerza - Flash Art Magazine (http://www.lacan.com/perfume/kristeva.htm)
17. Guardian article: March 14, 2006 (http://books.guardian.co.uk/departments/generalfiction/story/0,,1730440,00.html)
18. Julia Kristeva - site officiel (http://www.kristeva.fr)
19. Perumalil, Augustine. The History of Women in Philosophy.
20. Schippers, Birgit (2011). Julia Kristeva and Feminist Thought.
21. Vanda Zajko and Miriam Leonard (eds.), Laughing with Medusa. Oxford University Press, 2006. ISBN 0-19-927438-X
22. Griselda Pollock, Inscriptions in the feminine. In: Inside the Visible edited by Catherine de Zegher. MIT Press, 1996.
23. Parallax, n. 8, [Vol. 4(3)], 1998.
24. Humm, Maggie, Modernist Women and Visual Cultures. Rutgers University Press, 2003. ISBN 0-8135-3266-3
25. Griselda Pollock, Encounters in the Virtual Feminist Museum. Routledge, 2007.
26. Humm, Maggie, Feminism and Film. Indiana University press, 1997. ISBN 0-253-33334-2
27. Riding, Alan, Correcting Her Idea of Politically Correct (https://www.nytimes.com/2001/07/14/arts/correcting-her-idea-of-p
olitically-correct.html?pagewanted=all). New York Times. June 14, 2001
28. Sutherland, John (14 March 2006). "The ideas interview: Julia Kristeva; Why is a great critic ashamed of being
fashionable?" (https://www.theguardian.com/ideas/story/0,,1730437,00.html). The Guardian. Retrieved 23 November
2014.
29. http://www.holbergprisen.no/en/julia-kristeva/french-order
30. Desire in Language: A Semiotic Approach to Literature and Art, Columbia University Press, 1980 (In Preface)
31. Roland Barthes, The Rustle of language, p 168
32. Ian Almond, The New Orientalists: Postmodern Representations of Islam from Foucault to Baudrillard, I.B.Tauris, 2007, p.
132
33. Ian Almond, The New Orientalists: Postmodern Representations of Islam from Foucault to Baudrillard, I.B.Tauris, 2007
34. Ian Almond, The New Orientalists: Postmodern Representations of Islam from Foucault to Baudrillard, I.B.Tauris, 2007,
pp. 154–55
35. Alan Sokal and Jean Bricmont, Intellectual Impostures, Profile Books, 1998, p. 47
36. https://bibliobs.nouvelobs.com/actualites/20180328.OBS4308/julia-kristeva-avait-ete-recrutee-par-les-services-secrets-
communistes-bulgares.html
37. https://www.theguardian.com/world/2018/mar/28/julia-kristeva-communist-secret-agent-bulgaria-claims
38. https://books.google.co.uk/books?id=7C7tAAAAMAAJ&
dq=The+process+was+long+and+difficult+because+anyone+who+made+it+to+the+west+could+declare+political+asylum&
focus=searchwithinvolume&q=declare+political+asylum
39. http://www.balkaninsight.com/en/article/julia-kristeva-denies-being-communist-state-security-spy-03-29-2018
40. ″Bulgaria’s Dossier Commission posts Julia Kristeva files online″ (https://sofiaglobe.com/2018/03/30/bulgarias-dossier-co
mmission-posts-julia-kristeva-files-online/), The Sofia Globe, 30 March 2018. Retrieved 30 March 2018..

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41. ″Unprecedented - The Dossier Commission Published the Dossier of Julia Kristeva AKA Agent "Sabina" (http://www.novin
ite.com/articles/189165/Unprecedented+-+The+Dossier+Commission+Published+the+Dossier+of+Julia+Kristeva+AKA+A
gent+%22Sabina%22), novinite.com, 30 March 2018. Retrieved 30 March 2018.
42. Documents on the Dossier Commission’s website (in Bulgarian) (https://www.comdos.bg/%D0%9D%D0%B0%D1%87%D
0%B0%D0%BB%D0%BE/%D0%9F%D1%80%D0%BE%D0%B2%D0%B5%D1%80%D0%B5%D0%BD%D0%B8_%D0%
BB%D0%B8%D1%86%D0%B0/p/search/?ApprovedPersonFirstName=%D0%AE%D0%BB%D0%B8%D1%8F&Approve
dPersonMidName=%D0%A1%D1%82%D0%BE%D1%8F%D0%BD%D0%BE%D0%B2%D0%B0&ApprovedPersonLastN
ame=%D0%9A%D1%80%D1%8A%D1%81%D1%82%D0%B5%D0%B2%D0%B0&ApprovedPersonBirthDate=&Approve
dPersonBirthLocation=&ExaminationPersonPosition=&search=%D0%A2%D1%8A%D1%80%D1%81%D0%B5%D0%B
D%D0%B5). Retrieved 30 March 2018.
43. Христо Христов, ″Онлайн: Първите документи за Юлия Кръстева в Държавна сигурност″ (http://desebg.com/medii/3
528-2018-03-29-12-23-51), desebg.com, 29 March 2018 (Dossier of ″Sabina″, in Bulgarian). Retrieved 31 March 2018.
44. Христо Христов, ″Само на desebg.com: Цялото досие на Юлия Кръстева онлайн (лично и работно дело)″ (http://des
ebg.com/ucheni/3529-2018-03-30-05-01-16), desebg.com, 30 March 2018 (Dossier of ″Sabina″, in Bulgarian). Retrieved
31 March 2018.
45. Jennifer Schuessler and Boryana Dzhambazova, ″Bulgaria Says French Thinker Was a Secret Agent. She Calls It a
‘Barefaced Lie.’″ (https://www.nytimes.com/2018/04/01/arts/julia-kristeva-bulgaria-communist-spy.html), ″The New York
Times″, 1 April 2018. Retrieved 2 April 2018.
46. Schuessler, Jennifer; Dzhambazova, Boryana (2018-04-01). "Bulgaria Says French Thinker Was a Secret Agent. She
Calls It a 'Barefaced Lie.' " (https://www.nytimes.com/2018/04/01/arts/julia-kristeva-bulgaria-communist-spy.html). The
New York Times. ISSN 0362-4331 (https://www.worldcat.org/issn/0362-4331). Retrieved 2018-04-02.
47. Neal Ascherson, "Don’t imagine you’re smarter" (https://www.lrb.co.uk/v40/n14/neal-ascherson/dont-imagine-youre-smart
er), London Review of Books, 19 July 2018.

External links
Official website (http://kristeva.fr/)
Holberg Prize (https://web.archive.org/web/20170801171230/http://www.holbergprisen.no/julia-kristeva/holbergprisens-sy
mposium-2004-julia-kristeva.html)
Interview with Julia Kristeva in Exberliner Magazine (http://www.exberliner.com/articles/%22one-needs-to-believe%2C-but
-what%27s-more-important-is-to-question-what-we-believe%22/index.html)
Julia Kristeva: A Bibliography (http://hvolat.com/Kristeva/kristeva.htm) by Hélène Volat
Goodnow, Katherine J.(2015). Kristeva in Focus: From Theory to Film Analysis (http://www.berghahnbooks.com/title.php?
rowtag=GoodnowKristeva) Berghahn Books.

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