By Julia Kristeva, Ross Mitchell Guberman
A selection of twenty-two interviews and one own essay, Julia Kristeva Interviews offers an intimate and available portrait of 1 of France's most vital serious thinkers and highbrow personalities.
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quantity I of the three-volume Freud-Ferenczi correspondence closes with Freud's letter from Vienna, dated June 28, 1914, to his more youthful colleague in Budapest: "I am writing less than the impact of the incredible homicide in Sarajevo, the implications of which can't be foreseen! ' "Now," he keeps in a extra widely used vein, "to our affairs! " The nation-shattering occasions of worldwide warfare I shape a somber canvas for "our affairs" and the exchanges of the 2 correspondents in quantity 2 (July 1914 via December 1919). Uncertainty pervades those letters: Will Ferenczi be known as up? Will meals and fuel-and cigar-shortages proceed? Will Freud's 3 enlisted sons and son-in-law come during the warfare intact? and should Freud's "problem-child," psychoanalysis, live to tell the tale?
while, a extra intimate drama is unfolding: Freud's three-part research of Ferenczi in 1914 and 1916 ("finished yet no longer terminated"); Ferenczi's concomitant turmoil over even if to marry his mistress, Gizella Pálos, or her daughter, Elma; and the refraction of these kind of relationships in continually moving triads and dyads. In those, as in different issues, either males demonstrate attribute contradictions and inconsistencies, Freud restricted, Ferenczi extra effusive and revealing. Freud, for instance, unswervingly favors Ferenczi's marriage to Gizella and perspectives his indecision as "resistance"; but a number of years later, commenting on Otto Rank's spouse, Freud feedback, "One definitely can't pass judgement on in those concerns. .. on behalf of one other. " Ferenczi, for his half, reacts to the paternal authority of the "father of psychoanalysis" as an alternately obedient and rebellious son.
The letters vividly checklist the use--and misuse--of research and self-analysis and the shut interweaving of private issues within the early heritage of psychoanalysis. Ferenczi's eventual confrontation with Freud approximately "head and heart," target detachment as opposed to subjective involvement and engagement within the analytic relationship--an factor that may emerge extra in actual fact within the resulting years--is hinted at the following. because the decade and the amount finish, the correspondents proceed their literary dialog, ignorant of the painful and heartrending occasions forward.
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Extra info for Julia Kristeva Interviews
As far as Lacan's ideas go-the Real, the Imaginary, and the Symbolic--I think it extremely difficult, if not impossible, to translate one rheory into another theory, because if one does, one ends in con- fusion and loses the specificity each author and each approach. would not like to perform this reduction. But it does seem to me that the semiotic-if one really wants to find correspondences with Lacanian ideas-corresponds to phenomena that for Lacan are in both the real and the imaginary. For hirn the real is a hole, a void, but I think that in a number of experiences with which psychoanalysis is concerned-most norably, the narcissistic structure, the experience of melancholia or of catastrophic suffering, and so on--the appearance of the real is not necessarily a void.
At the moment we're in the middle of a regression that is present in the form of areturn to the religious, areturn to a concept of transcendence, arehabilitation of spiritualism. It's a vast problem that can be inter-· preted in various ways. Ir is not uninteresting. There are now in France all sorts of spiritualist movements: pro-Christian, pro-Jewish, pro-this and pro-that. Here the Sartrean problem returns. I think there's a religion of reason in Sartrean thought, just as in the new spiritualists there's a religion of transcendence.
There's nothing more murderous for an than engagement. This is not to say that I am for art for art's sake. Art for an's sake is the reverse of l'art engage. Ir presumes that there is such a thing as pure form, and contents that would be abject. I think, on the contrary, that contents are formal and forms are contents. Again, if you understand modern an as an experience in psychosis, to work with forms is the most radical way to seize the moments of crisis. So there is a politieal component to artistie aetivity, and it cannot be direct.
Julia Kristeva Interviews by Julia Kristeva, Ross Mitchell Guberman