Dustland...

Written by Brandon Flowers, frontman and keyboard player, this track was released by the American alternative rock band in 2008. It's a very personal song which tells the story of his parents, beginning with how they met when only aged fifteen and living on the same trailer park.

Flowers said in an interview, "It's an attempt to come to grips with the fact they're getting older. They're in their mid-sixties and my dad is my connection to...the pure America. It's like a love letter I guess. I see what's happening now with the kids and...it was just simpler back then. There's so much junk now."

With his unique brand of lyrics, Flowers poetically paints a fairytale image with his parents, in their youth, playing the lead roles of Cinderella and Prince Charming. The theme continues with mention of `castles in the sky,' although the passage of time is being recognized by the line, `the drawbridge is closing.'

Perhaps the most memorable point put across through the lyrics is one accepting the inevitable with the fact that time will continue to pass and we'll all continue to grow older described beautifully by the line, `and the decades disappear like sinking ships.'

Recovering an Ultimate Lost Object...

Recovering the Pre-Oedipal Lost Object....

Rinse & Repeat... and Repeat...

Melancholia

John Keats, "Ode on Melancholy"

No, no, go not to Lethe, neither twist
Wolf's-bane, tight-rooted, for its poisonous wine;
Nor suffer thy pale forehead to be kiss'd
By nightshade, ruby grape of Proserpine;
Make not your rosary of yew-berries,
Nor let the beetle, nor the death-moth be
Your mournful Psyche, nor the downy owl
A partner in your sorrow's mysteries;
For shade to shade will come too drowsily,
And drown the wakeful anguish of the soul.

But when the melancholy fit shall fall
Sudden from heaven like a weeping cloud,
That fosters the droop-headed flowers all,
And hides the green hill in an April shroud;
Then glut thy sorrow on a morning rose,
Or on the rainbow of the salt sand-wave,
Or on the wealth of globed peonies;
Or if thy mistress some rich anger shows,
Emprison her soft hand, and let her rave,
And feed deep, deep upon her peerless eyes.

She dwells with Beauty—Beauty that must die;
And Joy, whose hand is ever at his lips
Bidding adieu; and aching Pleasure nigh,
Turning to poison while the bee-mouth sips:
Ay, in the very temple of Delight
Veil'd Melancholy has her sovran shrine,
Though seen of none save him whose strenuous tongue
Can burst Joy's grape against his palate fine;
His soul shalt taste the sadness of her might,
And be among her cloudy trophies hung.

---

from Wiki on Julia Kristeva

The "semiotic" and the "symbolic"[edit]

One of Kristeva's most important contributions is that signification is composed of two elements, the symbolic and the semiotic, the latter being distinct from the discipline of semiotics founded by Ferdinand de Saussure. As explained by Augustine Perumalil, Kristeva's "semiotic is closely related to the infantile pre-Oedipal referred to in the works of Freud, Otto Rank, Melanie Klein, British Object Relation psychoanalysis, and Lacan's pre-mirror stage. It is an emotional field, tied to the instincts, which dwells in the fissures and prosody of language rather than in the denotative meanings of words."[19] Furthermore, according to Birgit Schippers, the semiotic is a realm associated with the musical, the poetic, the rhythmic, and that which lacks structure and meaning. It is closely tied to the "feminine", and represents the undifferentiated state of the pre-Mirror Stage infant.[20]

Upon entering the Mirror Stage, the child learns to distinguish between self and other, and enters the realm of shared cultural meaning, known as the symbolic. In Desire in Language (1980), Kristeva describes the symbolic as the space in which the development of language allows the child to become a "speaking subject," and to develop a sense of identity separate from the mother. This process of separation is known as abjection, whereby the child must reject and move away from the mother in order to enter into the world of language, culture, meaning, and the social. This realm of language is called the symbolic and is contrasted with the semiotic in that it is associated with the masculine, the law, and structure. Kristeva departs from Lacan in the idea that even after entering the symbolic, the subject continues to oscillate between the semiotic and the symbolic. Therefore, rather than arriving at a fixed identity, the subject is permanently "in process". Because female children continue to identify to some degree with the mother figure, they are especially likely to retain a close connection to the semiotic. This continued identification with the mother may result in what Kristeva refers to in Black Sun (1989) as melancholia (depression), given that female children simultaneously reject and identify with the mother figure.

It has also been suggested (e.g., Creed, 1993) that the degradation of women and women's bodies in popular culture (and particularly, for example, in slasher films) emerges because of the threat to identity that the mother's body poses: it is a reminder of time spent in the undifferentiated state of the semiotic, where one has no concept of self or identity. After abjecting the mother, subjects retain an unconscious fascination with the semiotic, desiring to reunite with the mother, while at the same time fearing the loss of identity that accompanies it. Slasher films thus provide a way for audience members to safely reenact the process of abjection by vicariously expelling and destroying the mother figure.

Kristeva is also known for her adoption of Plato’s idea of the chora, meaning "a nourishing maternal space" (Schippers, 2011). Kristeva's idea of the chora has been interpreted in several ways: as a reference to the uterus, as a metaphor for the relationship between the mother and child, and as the temporal period preceding the Mirror Stage. In her essay Motherhood According to Giovanni Bellini from Desire in Language (1980), Kristeva refers to the chora as a "non-expressive totality formed by drives and their stases in a motility that is full of movement as it is regulated." She goes on to suggest that it is the mother's body that mediates between the chora and the symbolic realm: the mother has access to culture and meaning, yet also forms a totalizing bond with the child.

Kristeva is also noted for her work on the concept of intertextuality.