ABSTRACT
Julia Kristeva’s writings can be read as a mirror of the oscillation between the semiotic and symbolic, between negation and identification, between the two elements that constitute human subjectivity For example, in Revolution in Poetic Language (1974) and Powers of Horror (1980) she emphasizes negation and the semiotic. In Tales of Love (1983), In the Beginning Was hove, Psychoanalysis and Faith (1987), and Black Sun (1987) she emphasizes identification and the symbolic. In Strangers to Ourselves (1989) and Nations without Nationalism (1990), she emphasizes the ways in which one is always implicated in the other. 1
