Julia Kristeva 1966–96: Aesthetics politics ethics by Griselda Pollock

By Griselda Pollock

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Extra info for Julia Kristeva 1966–96: Aesthetics politics ethics (Parallax, Issue 8 July–September 1998)

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Alors, toujours ‘estrangée’ dans son désir latent d’avoir le phallus ou de l’être (désir qui la soutient pourtant dans son être de sujet), la femme se détourne de l’assomption désirante et phallique, la femme renonce à sa bisexualité psychique et se complaît dans une sensorialité doloriste, qui est l’onde 26 KRISTEVA porteuse de la dépressivité hystérique avant que celle-ci ne bascule dans la mélancolie. A l’inverse, l’indifférence hystérique peut trahir une option pour le phallus seul mais érigé en Surmoi, dégoûté du plaisir clitoridien et privé de toute réminiscence éventuelle du lien à la mère préœdipienne.

S’il est vrai donc que l’enfant incarne la dernière révolte phallique dans l’Œdipe bis, donc interminable, de la femme (‘Je veux un pénis=présence réelle’), c’est dire qu’elle y retrouve ainsi une autre variante de sa bisexualité. Pourquoi? Parce que l’enfant est son pénis—elle ne renonce pas à la masculinité. Mais en même temps, et toujours par l’enfant, elle accède à la qualité d’être l’autre de l’homme, c’est-à-dire une femme qui a donné son enfant, s’en est vidée, s’en est séparée. Pourtant, ce n’est pas comme un déséquilibre de l’identité, encore moins comme une structure ouverte, qu’est le plus souvent perçue ou vécue la maternité, mais comme une complétude à laquelle conviendrait mieux le terme d’‘androgyne’ que celui de ‘bisexualité’.

Consisting of a veritable vortex of adherence and non-adherence to the phallus (the the signifier, to desire), female bisexuality—were this indeed to exist—would be no less, and no more, than an experience of meaning and its gestation, of language and its erosion, of being and its concealment. But in other words, I have just named what is truly at stake in the…aesthetic…experience, our contemporary and lucid version of the sacred. In this way, I would like to suggest one way of considering why it is the bisexuality of the Gomorrhean Albertine that Proust, in his search for things past, situates as the focal point of the narrator’s phantasms.

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