Her view of this “polyphony” is informed in part by Freudian analysis that finds “mnemonic traces” of desires that are “deferred but retained” in language (p. did not say.” Her lush, almost poetic style, a “triumphant expansion of sentences released with the last breath” suggests a gentle jazz riff, and reflects her preoccupation with the tension between what language can and what it cannot express, and with the myriad possible but not-quite-expressed nuances that separate them. The “irrefutable pleasure” of writing clearly also pertains to Kristeva, who admits that she “perceived what. In French, toucher (“to touch”) is charming when we find something “touching” or are “touched” by it but becomes questionable in faire une touche (to hit on someone). In the discreet polyphony of this neologism, I thus perceived what A Writers Diary (1877) did not say but what the novelistic swell of the entire opus insidiously sweeps along with it: the triumphant expansion of sentences released with the last breath (tush in Russian also means “fanfare”) the convulsive saraband of consumed bodies (“tusha” refers to “flesh” and “meat” “tushit” means “extinguish” or “smother”) seductions, lures, and the sensual pleasure of the catch or the caressing pictorial technique. Here, for example, is her recollected response to the verb “stushevat’sia” (to efface oneself) that Dostoevsky introduced in “The Double” (1846) and discussed thirty years later in A Writers Diary: Kristeva’s own “flood of language”-in the way of modern French cultural criticism, here rendered by the poet and translator Jody Gladding-is challenging for the uninitiated but rich in suggestion and implication. This is not a scholarly book on Dostoevsky, as Kristeva barely engages with the secondary literature apart from Bakhtin and Freud her work is in a class with that of such Russian critic-philosophers as Lev Shestov and Andrei Siniavsky, who offer erudite, provocative and idiosyncratic readings of the classics. Kristeva outlines her own intellectual evolution in tandem with her thinking about the great Russian author. In Dostoevsky, or The Flood of Language, the eminent Bulgarian-French literary critic and philosopher Julia Kristeva raises the study of literature to an impressive “meta” level by considering Dostoevsky’s works as explorations of the problem of what language can and cannot represent. Stolberg (University of Duisburg-Essen, Germany) Reviewed by Marcus Levitt (University of Southern California, emeritus)Ĭommissioned by Eva M.
New York: Columbia University Press, 2021. This exceptional performance from all THW local sections makes me extremely proud,” said THW President Gerd Friedsam as he reviewed the operation.Julia Kristeva. “During the large-scale operation we saw unbelievable contributions from all THW operatives. The volunteers rescued trapped people, pumped away water, secured the drinking water and power supplies, operated large standby areas for operatives from many organisations, and repaired and re-built damaged infrastructure. Some 17,000 operatives from all of the THW’s 668 local sections joined in the efforts to mitigate the consequences of the rainfall in Bavaria, Rhineland-Palatinate, North Rhine-Westphalia and Saxony.
On July 14 and 15, the storm swept through various regions of Germany and neighbouring countries, leading to the largest operation in the history of the Technische Hilfswerk (THW). It is difficult to grasp the extent of the devastation and the suffering for many people in the wake of the extreme rainfall and severe flooding in Rhineland-Palatinate and North Rhine-Westphalia caused by the Bernd storm system almost one year ago.
0 kommentar(er)
