1996
DOI: 10.1111/j.1527-2001.1996.tb00668.x
|View full text |Cite
|
Sign up to set email alerts
|

L’écriture limite: Kristeva's Postmodern Feminist Ethics

Abstract: In this essay, I trace the development of Julia Kristeva's theory and practice of “the subject in procession trial” from her semiotic works of the 1960s to her psychoanalytic writings of the 1970s and 1980s. I read Kristeva's exploration of this “subject in procession trial” as contributing to a postmodern feminist ethics.

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1
1

Citation Types

0
3
0

Year Published

1998
1998
2018
2018

Publication Types

Select...
4

Relationship

0
4

Authors

Journals

citations
Cited by 4 publications
(3 citation statements)
references
References 7 publications
0
3
0
Order By: Relevance
“…The meaning-making of the semiotic recognizes this connectedness between the subject and her context, which Kristeva refers to as the ‘symbolic’. McCance (1996: 147) confirms Kristeva’s insistence on this relationship, where subject formation always ‘requires both the semiotic and symbolic modalities’. For teachers from diverse cultures and backgrounds, this involves recognizing the fundamental inner knowledge involved in reforming their daily routines, habits and rituals, redefining understandings in their new context.…”
Section: The Subject In Processmentioning
confidence: 75%
“…The meaning-making of the semiotic recognizes this connectedness between the subject and her context, which Kristeva refers to as the ‘symbolic’. McCance (1996: 147) confirms Kristeva’s insistence on this relationship, where subject formation always ‘requires both the semiotic and symbolic modalities’. For teachers from diverse cultures and backgrounds, this involves recognizing the fundamental inner knowledge involved in reforming their daily routines, habits and rituals, redefining understandings in their new context.…”
Section: The Subject In Processmentioning
confidence: 75%
“…To turn to one critical example, Dawne McCance (1996) analyzes the relationship between Kristeva's theory and the question of a postmodern feminist ethics in her essay “ L'ecriture limite: Kristeva's Postmodern Feminist Ethics.” Kristeva, she states, does not allow for a “treatise on ethics” but instead gives a “performance of ethics” that “exiles the unified subject.” Citing Leon Roudiez, McCance says, “the text is the visible stage … of a performance that actively involves writer and reader alike” (McCance 1996, 145 quoting Roudiez 1974, 297); furthermore, she says Kristeva brings to theory “something unmistakably alien.” This reading of the nature of performance in Kristeva and its connection to a feminist ethics helps to clarify the curious component of some critiques of Kristeva that, in seeking to analyze her theory, also seem compelled to enact the same gesture of speaking at the borders (frontières) in an interplay of voices (Oliver 1993a). 2…”
Section: Performative Revelations: Pas De Deuxmentioning
confidence: 99%
“… For additional analyses of the specific nature of and the implications for the ethical in Kristeva's work see McCance 1996; Ziarek 1992 and 1993; and Oliver 1993a and b. …”
mentioning
confidence: 99%