By Kenneth W. Harrow

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28. 156). 29. This argument is an essential part of Julia Kristeva's (1984) Revolution in poetic language (New York: Columbia University Press), and of Desire in language (Kristeva, 1980). 30. See, for instance, Julia Kristeva (1987b) Tales of love. 227, or Julia Kristeva (1993) Nations without nationalism. 35. 31. I do not wish to imply that the potential variety of emotions in the face of destabilization • is the only possible source of Kristeva's interest in 'affect'. Jacqueline Rose suggests some further factors (Jacqueline Rose (1986) Sexuality in thefield ofvision.

One such passage deals with the use of rules and prohibitions in order to achieve a subversion of the law: [T]he abject is perverse because it never gives up nor assumes a prohibition, a rule, or a law: but rums them aside, misleads, corrupts, uses them, takes advantage of them, the better to deny them.

9. 151). 10. 223). 11. 189). 12. Kristeva's major reference is to Freud's 1919 essay on 'The Uncanny' (Das Unheimliche). Sigmund Freud (1964) 'The uncanny'. In J. ) The Standard edition of the complete psychological ivorks of Sigmund Freud, vol. 18. London: Hogarth Press. See Julia Kristeva (1991a) Strangers to ourselves. 182195. 13. For an historical analysis of art that emphasizes changes in the social order, see, for example, Arnold Hauser (1982) The sociology of art. London: Routledge & Kegan Paul.

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