In this essay, I offer a comparison of Jacques Lacan’s and Julia Kristeva’s accounts on the subject’s entrance into the Symbolic order, particularly focusing on Lacan’s concept of the mirror stage and Kristeva’s distinction between the Semiotic and the Symbolic. I elaborate on the Kristevan theoretical framework, structured around her pivotal concepts of abjection, the chora, and the thetic phase. I argue that Kristeva deviates from Lacan by emphasizing the chaotic and subversive potentiality of the Semiotic chora, and contend that the Kristevan approach provides what can be viewed as an intermediary space. It introduces a continuity (Grosz), and problematizes the clear-cut, abrupt movement into the Symbolic encountered in the Lacanian account. From a Kristevan perspective, the Symbolic as the paternal discursive structure is built on the raw dynamicism and motility of the maternal Semiotic. For both Kristeva and Lacan, entering the Symbolic is only possible via the subject’s repression of the maternal. The speaking subject is a split, barred subject who permanently lacks. However, Kristeva emphasizes the repression of the maternal Semiotic and maternal body. Thus, Kristeva reworks the Lacanian edifice by shifting the focus to the maternal and introducing and intermediary space and a continuity via the concepts of the Semiotic chora, the abject, and the thetic phase.
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Téléchargez vos propres textes! Gagnez de l'argent et un iPhone X. -
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Téléchargez vos propres textes! Gagnez de l'argent et un iPhone X.