2
" Today’s milestone is human madness. Politics is a part of it, particularly in its lethal outbursts. Politics is not, as it was for Hannah Arendt, the field where human freedom is unfurled. The modern world, the world of world war, the Third World, the underground world of death that acts upon us, do not have the civilized splendor of the Greek city state. The modern political domain is massively, in totalitarian fashion, social, leveling, exhausting. Hence madness is a space of antisocial, apolitical, and paradoxically free individuation "
― Julia Kristeva , Black Sun: Depression and Melancholia
5
" When the starry sky, a vista of open seas, or a stained-glass window shedding purple beams fascinate me, there is a cluster of meaning, of colors, of words, of caresses, there are light touches, scents, sighs, cadences that arise, shroud me, carry me away, and sweep me beyond the things I see, hear, or think, The "sublime" object dissolves in the raptures of a bottomless memory. It is such a memory, which, from stopping point to stopping point, remembrance to remembrance, love to love, transfers that object to the refulgent point of the dazzlement in which I stray in order to be. "
― Julia Kristeva , Powers of Horror: An Essay on Abjection
7
" Do not all attempts, in our own cultural sphere at least, at escaping from the Judeo-Christian compound by means of a unilateral call to return to what it has repressed (rhythm, drive, the feminine, etc.), converge on the same Celinian anti-Semitic fantasy? And this is so because, as I have tried to explain earlier the writings of the chosen people have selected a place, in the most determined manner, on that untenable crest of manness seen as symbolic fact—which constitutes abjection. "
― Julia Kristeva , Powers of Horror: An Essay on Abjection
14
" The other that will guide you and itself through this dissolution is a rhythm, text, music, and within language, a text. But what is the connection that holds you both together? Counter-desire, the negative of desire, inside-out desire, capable of questioning (or provoking) its own infinite quest. Romantic, filial, adolescent, exclusive, blind and Oedipal: it is all that, but for others. It returns to where you are, both of you, disappointed, irritated, ambitious, in love with history, critical, on the edge and even in the midst of its own identity crisis; a crisis of enunciation and of the interdependence of its movements, an instinctual drive that descends in waves, tearing apart the symbolic thesis. "
― Julia Kristeva , Desire in Language: A Semiotic Approach to Literature and Art
19
" Along with the sight-clouding dizziness, nausea makes me balk at that milk cream, separates me from the mother and the father who proffer it. "I" want none of that element, sign of their desire; "I" do not want to listen, "I" do not assimilate it. "I" expel it. But since the food is not an "other" for "me," who am only in their desire, I expel myself, I spit myself out, I abject myself with the same motion through which "I" claim to establish myself. That detail, perhaps an insignificant one, but one that they ferret out, emphasize, evaluate, that trifle turns me inside out, guts sprawling; it is thus that they see the "I" am in the process of becoming an other at the expense of my own death, During that course I'm which "I" become, I give birth to myself amid the violence of sobs, of vomit. Mute protest of the symptom, shattering the violence of a convulsion that, to be sure, is inscribed in a symbolic system, but in which, without either wanting or being able to become integrated in order to answer to it, it abreacts. It abjects "
― Julia Kristeva , Powers of Horror: An Essay on Abjection
