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- Publisher
- Edinburgh University Press
- Copyright
- Copyright © Edinburgh University Press
- ISSN
- 0264-8334
- eISSN
- 1750-0176
- DOI
- 10.3366/para.1997.20.3.209
- Publisher site
- See Article on Publisher Site
Abstract
Space: the Essence Ambassadorship of Transgression, like metaphor, implies a violent exchange between like and unlike. Kristeva's discourse has frequently performed just such an exchange, assuming an enigmatic identification with the object alongside speaking about it. But this transgressive support for a shifting point of enunciation also raises serious questions about the analytical reach of her discourse. For while accepting the imbrication of enonce and dissolution of boundaries is equally a difficulty for contemporary life. If the analyst is fascinated with marginal experiences to the point where the anomalous becomes a crucial point of reference, how then is she able to help those who are made ill precisely because of these marginal experiences? What analytical concepts have the efficacy to cure when the analysis is infused with a performance of disease? In this article I will explore these questions in relation to the 'reversible space' claimed by the detective Stephanie Delacour in Kristeva's second novel.1 The Old Man and the Wolves opens in a city in Eastern Europe named Santa Varvara (Santa Barbara in the French original). From the window, the space of the modernist intellectual, an old man is watching the invasion of his country by wolves.
Journal
Paragraph – Edinburgh University Press
Published: Nov 1, 1997