Intertextuality: A Guide to Julia Kristeva's Word, Dialogue and Novel
Julia Kristeva: Word, Dialogue and Novel
If you are interested in literary theory, especially in the fields of semiotics, psychoanalysis and feminism, you have probably heard of Julia Kristeva. She is one of the most influential and original thinkers of the 20th century, whose work has inspired many writers and scholars across disciplines. In this article, we will explore one of her seminal essays, Word, Dialogue and Novel, which was first published in 1969 and later included in her book Desire in Language (1980). We will summarize the main arguments and concepts of the essay, analyze its strengths and limitations, and discuss its relevance for contemporary literature and culture. By the end of this article, you will have a better understanding of Kristeva's contribution to literary theory and how it can help you appreciate the complexity and richness of literary texts.
Julia Kristeva Word Dialogue And Novel Pdf Free
Who is Julia Kristeva?
Julia Kristeva was born in Bulgaria in 1941. She studied linguistics, literature and philosophy at the University of Sofia, where she became involved in the dissident movement against the communist regime. In 1965, she moved to France to pursue her doctoral studies at the École Normale Supérieure under the supervision of Roland Barthes, a prominent figure of structuralism. She also joined the Tel Quel group, a radical avant-garde collective of writers and critics that included Philippe Sollers, Jacques Derrida, Michel Foucault and others. In France, she became acquainted with the works of psychoanalysts such as Jacques Lacan, Melanie Klein and Sigmund Freud, which influenced her own theoretical development.
Kristeva is best known for her interdisciplinary approach that combines semiotics (the study of signs and symbols), psychoanalysis (the study of the unconscious) and feminism (the study of gender and power). She has written extensively on topics such as language, literature, art, politics, religion, ethics and identity. Some of her most famous books are Revolution in Poetic Language (1974), Powers of Horror (1980), Black Sun (1987) and Strangers to Ourselves (1991). She has also published several novels, such as The Samurai (1987) and Murder in Byzantium (2004). She is currently a professor emeritus at the University Paris Diderot and a member of the Collège de France.
What is her main contribution to literary theory?
Kristeva's main contribution to literary theory is her innovative concept of intertextuality, which she introduced in Word, Dialogue and Novel. Intertextuality refers to the idea that every text is composed of multiple texts that are related to each other in various ways. For Kristeva, a text is not a closed system that can be analyzed in isolation from its context. Rather, it is an open system that interacts with other texts, both past and present, and produces new meanings in the process. Intertextuality challenges the notions of authorship, originality and authority that are traditionally associated with literary texts. It also invites the reader to participate actively in the interpretation of the text, by recognizing and exploring its intertextual connections.
Why is her work relevant today?
Kristeva's work is relevant today because it offers a dynamic and creative way of reading and writing literature. In a world where information is abundant and accessible, intertextuality encourages us to be critical and curious about the sources and influences that shape our texts. It also encourages us to be playful and experimental with our texts, by mixing and remixing different genres, styles, languages and media. Intertextuality can help us appreciate the diversity and complexity of literary expression, as well as its social and cultural implications. It can also help us understand ourselves better, as we are constantly engaged in intertextual dialogues with others and with ourselves.
Word, Dialogue and Novel: A Summary
The concept of intertextuality
In Word, Dialogue and Novel, Kristeva develops the concept of intertextuality by drawing on the works of two Russian formalists: Mikhail Bakhtin and Roman Jakobson. Bakhtin was a philosopher and literary critic who studied the novel as a dialogic form of discourse, where different voices and perspectives interact and clash with each other. Jakobson was a linguist and semiotician who studied the poetic function of language, where words are used not only to communicate information, but also to create aesthetic effects.
Kristeva combines Bakhtin's notion of dialogism with Jakobson's notion of poetics to propose a new way of understanding literature as a translinguistic practice, where language is constantly transformed and enriched by other languages. She defines intertextuality as "the transposition of one (or several) sign system(s) into another", or "a mosaic of quotations; any text is the absorption and transformation of another". She argues that every text is intertextual in two ways: horizontally and vertically. Horizontally, a text is intertextual because it is situated in a specific historical and social context, where it dialogues with other texts that belong to the same or different cultures. Vertically, a text is intertextual because it is composed of multiple layers of signification, where it dialogues with other texts that belong to the same or different linguistic systems.
The distinction between genotext and phenotext
Kristeva also distinguishes between two types of intertextuality: genotext and phenotext. Genotext refers to the deep structure of the text, where the unconscious drives and desires of the writer are expressed through linguistic disruptions, such as metaphors, puns, neologisms, etc. Phenotext refers to the surface structure of the text, where the conscious intentions and expectations of the writer are expressed through linguistic conventions, such as grammar, syntax, logic, etc. Kristeva argues that every text is a combination of genotext and phenotext, but that some texts are more genotextual than others. She calls these texts "poetic texts", which are characterized by their subversive and creative use of language.
The role of the reader in the production of meaning
Kristeva also emphasizes the role of the reader in the production of meaning. She argues that every text is incomplete until it is read by someone who can activate its intertextual potential. The reader is not a passive recipient of the text, but an active producer of meaning. The reader does not simply decode or reproduce the meaning intended by the writer, but creates new meanings by relating the text to other texts that he or she knows or encounters. The reader also does not have a fixed or stable identity, but changes according to the text that he or she reads. The reader is a subject in process, who is constantly influenced by his or her own unconscious drives and desires, as well as by his or her social and cultural context.
The dialogic nature of the novel as a genre
Kristeva applies her concept of intertextuality to analyze the novel as a genre. She argues that the novel is inherently dialogic, because it incorporates various types of discourses (such as scientific, philosophical, religious, etc.) into its narrative structure. The novel also reflects the historical development of language and culture, as it evolves from oral to written forms, from monologic to polyphonic forms, from realistic to fantastic forms, etc. The novel is therefore a privileged site for studying intertextuality, as it reveals how language changes over time and across space.
Word, Dialogue and Novel: A Critical Analysis
The strengths of Kristeva's approach
Kristeva's approach has many strengths that make it valuable and influential for literary theory. First, it offers a comprehensive and interdisciplinary framework that combines different fields of knowledge, such as linguistics, psychoanalysis, feminism and philosophy. Second, it provides a dynamic and creative way of reading and writing literature, that emphasizes the diversity and complexity of texts and their intertextual relations. Third, it challenges the traditional notions of authorship, originality and authority, that tend to limit and constrain the interpretation of texts. Fourth, it invites the reader to participate actively and critically in the production of meaning, by recognizing and exploring the multiple layers and dimensions of texts. Fifth, it acknowledges the role of the unconscious and the affective in the literary process, by highlighting the importance of genotext and poetic language.
The limitations of Kristeva's approach
Kristeva's approach also has some limitations that need to be addressed and overcome. First, it can be seen as too abstract and complex, making it difficult to apply and communicate to a wider audience. Second, it can be seen as too relativistic and subjective, making it hard to establish clear criteria and standards for evaluating texts and their intertextual connections. Third, it can be seen as too elitist and exclusive, making it inaccessible and irrelevant for many readers and writers who do not share the same cultural and linguistic background as Kristeva. Fourth, it can be seen as too idealistic and optimistic, making it ignore or underestimate the political and ideological conflicts and constraints that affect texts and their intertextual relations. Fifth, it can be seen as too static and fixed, making it unable to account for the changes and innovations that occur in language and literature over time.
The implications of Kristeva's approach for contemporary literature and culture
Kristeva's approach has many implications for contemporary literature and culture, as it opens up new possibilities and challenges for reading and writing texts in the 21st century. First, it encourages us to be more aware and curious about the sources and influences that shape our texts, both past and present. Second, it encourages us to be more playful and experimental with our texts, by mixing and remixing different genres, styles, languages and media. Third, it encourages us to be more critical and dialogic with our texts, by questioning and challenging their meanings and assumptions. Fourth, it encourages us to be more creative and expressive with our texts, by using poetic language and genotext to convey our unconscious drives and desires. Fifth, it encourages us to be more collaborative and interactive with our texts, by sharing them with others who can enrich them with their own intertextual perspectives.
A recap of the main points
In this article, we have explored one of Julia Kristeva's seminal essays, Word, Dialogue and Novel, which introduced the concept of intertextuality to literary theory. We have summarized the main arguments and concepts of the essay, analyzed its strengths and limitations, and discussed its relevance for contemporary literature and culture. We have learned that intertextuality is a dynamic and creative way of understanding literature as a translinguistic practice, where language is constantly transformed and enriched by other languages. We have also learned that intertextuality challenges the traditional notions of authorship, originality and authority, and invites the reader to participate actively and critically in the production of meaning.
A call to action for further reading and research
If you are interested in learning more about Julia Kristeva and her work, we recommend you to read her book Desire in Language, which contains Word, Dialogue and Novel along with other essays on semiotics, psychoanalysis and feminism. You can also read some of her novels, such as The Samurai or Murder in Byzantium, which illustrate her intertextual approach to literature. You can also explore some of the works of other writers and critics who have been influenced by Kristeva, such as Roland Barthes, Jacques Derrida, Michel Foucault, Hélène Cixous, Toni Morrison, Margaret Atwood, Salman Rushdie, etc. You can also apply Kristeva's concept of intertextuality to your own reading and writing practices, by discovering and creating new intertextual connections between texts that you encounter or produce.
What is intertextuality?
Intertextuality is the idea that every text is composed of multiple texts that are related to each other in various ways.
Who coined the term intertextuality?
The term intertextuality was coined by Julia Kristeva, a Bulgarian-French writer and critic, in her essay Word, Dialogue and Novel (1969).
What are the two types of intertextuality?
The two types of intertextuality are horizontal and vertical. Horizontal intertextuality refers to the relation between a text and its historical and social context. Vertical intertextuality refers to the relation between a text and its linguistic system.
What are the two types of texts according to Kristeva?
The two types of texts according to Kristeva are genotext and phenotext. Genotext refers to the deep structure of the text, where the unconscious drives and desires of the writer are expressed. Phenotext refers to the surface structure of the text, where the conscious intentions and expectations of the writer are expressed.
What are some examples of intertextual texts?
Some examples of intertextual texts are: Gargantua and Pantagruel by François Rabelais, which incorporates various types of discourses such as medicine, law, theology, etc. The Waste Land by T.S. Eliot, which contains references and quotations from various sources such as Dante, Shakespeare, Baudelaire, etc. The Name of the Rose by Umberto Eco, which mixes elements from different genres such as detective fiction, historical fiction, metafiction, etc. 71b2f0854b