In English

Motherhood and the Machine” Journal of French and Francophone Philosophy – Revue de la philosophie française et de langue française, Vol XXI, No 2 (2014)

Inverted Forms and Heterotopian Homonymy: Althusser, Mamardashvili, and the Problem of ‘Man’. boundary 2 (an international journal of literature and culture), v. 41, no 1, spring 2014, pp. 79-100.

Byzantium, or Fiction as Inverted Theory. Benigno Trigo (ed.) Kristeva’s Fiction. State University of New York Press, 2013, 143-155.

The West as Intellectual Utopia. Dietlind Hüchtker, Alfrun Kliems (Hg) Überbringen – Überformen – Überblenden. Theorietransfer im 20. Jahrhundert, Köln: Böhlau Verlag, 2011, 207-230.

Between Irony and Revolution: Sexual Difference and the Case ofAufhebung,differences 2010 21(1):74-93

 The West as Intellectual Utopia. Maria Todorova (ed.) Remembering Communism: Genres of Representations, New York: Social Science Research Council, 2010, 95-124.

Between Irony and Revolution: Sexual Difference and the Case ofAufhebung, parallax, 2008, vol. 14, no. 2, 53–67.

Sexual Difference and the Case ofAufhebung, Claudia Reiche and Andrea Sick (eds.), do not exist: europe, women, digital medium, Bremen: thealit, 2008, 93-110.

“My Hobby is People”: Migration and Communication in the Light of Late Totalitarianism, Luisa Passerini, Dawn Lyon, Enrica Capussotti and Ionna Laliotou(eds.), Women Migrants From East to West: Gender, Mobility and Belonging in Contemporary Europe, Oxford: Berghahn Books, 2007, 111-121.

The Concave Mirror: Notes on the Parahuman in Kleist and Rilke, Kritika humanism 22, special bilingual issue, 2006:75-92.

Gender Studies and the University: The Bulgarian Case, T.-S. Pavlidou (ed.), Gender Studies: Trends/Tensions in Greece and Other European Countries, ΕκλπσειςΖετε, Θεσσαλονικη, 2006, 117-128.

Julia Kristeva and the History of Bulgarian Women’s Literature: Narratives of Transposition,   M.-S. Alexandru, M. Nicolaescu, H. Smith (eds.), Rewriting Histories, Editura Iniversitatii din Bucuresti, 2005, pp. 19-35.

It Always Gives Watching: The Nothing and the Parahuman in Rilke’s Duino Elegies, Filozofski vestnik, Letnik/Volume XXVI • Number/Številka 2 • 2005 • 63–73.

Questions of Immortality in a Fragment by Sappho, Identities, vol. III, no 2, Winter 2004, pp.155-169.

The Seminar: Mode d’emploi. Impure Spaces in the Light of Late Totalitarianism, in Joan W. Scott and Debra Keates (eds), Going Public: Feminism and the Boundaries of the Private Space, University of Wisconsin Press, 2004, pp. 359-389.

The Lost Territory: ParablesofExileinJuliaKristeva. John Lechte and Mary Zournazi (eds.) The Kristeva Critical Reader. Edinburgh: Edinburgh University Press, 2003, pp.158-172.

The Seminar: Mode d’emploi. Impure Spaces in the Light of Late Totalitarianism, differences, vol. 15, Spring 2002, pp.96-127.

Translating Gender: the Bulgarian Case, The Making of European Womens Studies, vol III, Utrecht: Utrecht University, 2001, pp. 92-94.

Julia Kristeva: The Polylogic Wager (part II), Tessera, vol. 22, Summer 1997, pp.71-93.

Julia Kristeva: The Polylogic Wager (part I), Tessera, vol. 21,Winter 1996, pp.38-53.

Love and Automata: From Hoffmann to Lem and from Freud to Kristeva. Joe Sanders (ed.), Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts, Westport, Connecticut – London: The Greenwood Presss, 1995, pp.77-82.

The Radical Other. Vernant Cauchy (ed.). Perception of Otherness and Diversity of Cultures, Editions Montmorency, Montreal, 1993, pp. 84-98.

Feminine Erotic and Paternal Legacy: Revisiting Plato’s Symposium. Paragraph 16.3(1993), pp. 239-260.

Born from the Head: Reading Woolf via Kristeva. Diacritics 21.2-3 (1991): 30-42.

The Lost Territory: Parables of Exile in Julia Kristeva. Semiotica 86.3-4 (1991): 231-246.




Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s