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The Death of the Author - Wikipedia

It draws on theories from the fields of philosophy, psychology, semiotics, physical science, and critique for reinforcement of the author's own ideals or ideas about the English language.

GREXJET – Critical essays barthes

The genre of the story is also difficult to define because it reads as an autobiographical account of an experience Sacks had with a patient while working as a neurologist....

Roland barthes essays - OCEANSNELL– OCEANSNELL

Once this function is ascertained, Barthes shifts his impetus to the antiquation of the author’s place in general.

He states that ' le critique devient à son tour écrivain', and goes on to discuss how there is a transgression between the writer and the critic; a new rhetoric means that the language of a critic can be just as literary and full of symbolism as that of an author.

3. The Text can be approached, experienced, in reaction to the sign. The work closes on a signified. There are two modes of signification which can be attributed to this signified: either it is claimed to be evident and the work is then the object of a literal science, of philology, or else it is considered to be secret, ultimate, something to be sought out, and the work then falls under the scope of a hermeneutics, of an interpretation (Marxist, psychoanalytic, thematic, etc.); in short, the work itself functions as a general sign and it is normal that it should represent an institutional category of the civilization of the Sign. The Text, on the contrary, practises the infinite deferment of the signified, is dilatory; its field is that of the signifier and the signifier must not be conceived of as 'the first stage of meaning', its material vestibule, but, in complete opposition to this, as its . Similarly, the of the signifier refers not to some idea of the ineffable (the unnameable signified) but to that of a ; the generation of the perpetual signifier (after the fashion of a perpetual calendar) in the field of the text (better, of which the text is the field) is realized not according to an organic progress of maturation or a hermeneutic course of deepening investigation, but, rather, according to a serial movement of disconnections, overlappings, variations. The logic regulating the Text is not comprehensive (define 'what the work means') but metonymic; the activity of associations, contiguities, carryings-over coincides with a liberation of symbolic energy (lacking it, man would die); the work in the best of cases -- is symbolic (its symbolic runs out, comes to a halt); the Text is symbolic: . Thus is the Text restored to language; like language, it is structured but off-centred, without closure (note, in reply to the contemptuous suspicion of the 'fashionable' sometimes directed at structuralism, that the epistemological privilege currently accorded to language stems precisely from the discovery there of a paradoxical idea of structure: a system with neither close nor centre).

Barthes Essay | Oxbridge Notes the United Kingdom

Aside from the final essay, 'Myth, Today', Barthes does not focus on Semiological theory per se, ..

7. This leads us to pose (to propose) a final approach to the Text, that of pleasure. I do not know whether there has ever been a hedonistic aesthetics (eudaemonist philosophies are themselves rare). Certainly there exists a pleasure of the work (of certain works); I can delight in reading and re-reading Proust, Flaubert, Balzac, even -- why not? -- Alexandre Dumas. But this pleasure, no matter how keen and even when free from all prejudice, remains in part (unless by some exceptional critical effort) a pleasure of consumption; for if I can read these authors, I also know that I cannot them (that it is impossible today to write 'like that') and this knowledge, depressing enough, suffices to cut me off from the production of these works, in the very moment their remoteness establishes my modernity (is not to be modern to know clearly what cannot be started over again ?). As for the Text, it is bound to , that is to a pleasure without separation. Order of the signifier, the Text participates in its own way in a social utopia; before History (supposing the latter does not opt for barbarism), the Text achieves, if not the transparence of social relations, that at least of language relations: the Text is that space where no language has a hold over any other, where languages circulate (keeping the circular sense of the term).

6. The work is normally the object of a consumption; no demagogy is intended here in referring to the so-called consumer culture but it has to be recognized that today it is the 'quality' of the work (which supposes finally an appreciation of 'taste') and not the operation of" reading itself which can differentiate between books: structurally, there is no difference between 'cultured reading and casual reading in trains. The Text (if only by its frequent 'unreadability) decants the work (the work permitting) from its consumption and gathers it up as play, activity, production, practice. This means that the Text requires that one try to abolish (or at the very least to diminish) the distance between writing and reading, in no way by intensifying the projection of the reader into the work but by joining them in a single signifying practice. The distance separating reading from writing is historical. In the times of the greatest social division (before the setting up of democratic cultures), reading and writing were equally privileges of class. Rhetoric, the great literary code of those times, taught one to (even if what was then normally produced were speeches, not texts). Significantly, the coming of democracy reversed the word of command: what the (secondary) School prides itself on is teaching to (well) and no longer to write (consciousness of the deficiency is becoming fashionable again today: the teacher is called upon to teach pupils to express themselves', which is a little like replacing a form of repression by a misconception). In fact, , in the sense of consuming, is far from with the text. 'Playing' must be understood here in all its polysemy: the text itself (like a door, like a machine with 'play') and the reader plays twice over, playing the Text as one plays a game, looking for a practice which re-produces it, but, in order that that practice not be reduced to a passive, inner (the Text is precisely that which resists such a reduction), also playing the Text in the musical sense of the term. The history of music (as a practice, not as an 'art') does indeed parallel that of the Text fairly closely: there was a period when practising amateurs were numerous (at least within the confines of a certain class) and 'playing' and 'listening' formed a scarcely differentiated activity; then two roles appeared in succession, first that of the performer, the interpreter to whom the bourgeois public (though still itself able to play a little -- the whole history of ) the piano) delegated its playing, then that of the (passive) amateur, who listens to music without being able to play (the gramophone record takes the place of the piano). We know that today post-serial music has radically altered the role of the 'interpreter', who is called on to be in some sort the co-author of the score, completing it rather than giving it 'expression'. The Text is very much a score of this new kind: it asks of the reader a practical collaboration. Which is an important change, for who executes the work? (Mallarmé posed the question, wanting the audience to the book). Nowadays only the critic executes the work (accepting the play on words). The reduction of reading to a consumption is clearly responsible for the Boredom' experienced by many in the face of the modern ('unreadable') text, the avant-garde film or painting: to be bored means that one cannot produce the text, open it out, .

Barthes' essay "Myth Today" - College Term Papers
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An essay or paper on Barthes' essay ..

For example, there are different varieties of flowers like the roses stand for romance, violets represent shyness, lilies for beauty and temptation, and chrysanthemums represent perfection.

The Death of Roland Barthes | Relativism | Author

1971
Translation Copyright 1977, Stephen Heath
Essay published in Roland Barthes,(New York: Hill and Wang, 1977), trans. Stephen Heath.

Roland barthes toys essay summary | La Zona Londres

5. The work is caught up in a process of filiation. Are postulated: a of the work by the world (by race, then by History), a of works amongst themselves, and a of the work to the author. The author is reputed the father and the owner of his work: literary science therefore teaches for the manuscript and the author's declared intentions, while society asserts the legality of the relation of author to work (the ' or 'copyright', in fact of recent date since it was only really legalized at the time of the French Revolution). As for the Text, it reads without the inscription of the Father. Here again, the metaphor of the Text separates from that of the work: the latter refers to the image of an which grows by vital expansion, by 'development' (a word which is significantly ambiguous, at once biological and rhetorical); the metaphor of the Text is that of the ; if the Text extends itself, it is as a result of a combinatory systematic (an image, moreover, close to current biological conceptions of the living being). Hence no vital 'respect' is due to the Text: it can be (which is just what the Middle Ages did with two nevertheless authoritative texts -- Holy Scripture and Aristotle); it can be read without the guarantee of its father, the restitution of the inter-text paradoxically abolishing any legacy. It is not that the Author may not 'come back' in the Text, in his text, but he then does so as a 'guest'. If he is a novelist, he is inscribed in the novel like one of his characters, figured in the carpet; no longer privileged, paternal, aletheological, his inscription is ludic. He becomes, as it were, a paper-author: his life is no longer the origin of his fictions but a fiction contributing to his work; there is a reversion of the work on to the life (and no longer the contrary); it is the work of Proust, of Genet which allows their lives to be read as a text. The word 'bio-graphy' re-acquires a strong, etymological sense, at the same time as the sincerity of the enunciation -- veritable 'cross" borne by literary morality -- becomes a false problem: the which writes the text, it too, is never more than a paper-.

Roland barthes essay the death of the author - Proteos

4. The Text is plural. Which is not simply to say that it .has several meanings, but that it accomplishes the very plural of meaning: an (and not merely an acceptable) plural. The Text is not a co-existence of meanings but a passage, an overcrossing; thus it answers not to an interpretation, even a liberal one, but to an explosion, a dissemination. The plural of the Text depends, that is, not on the ambiguity of its contents but on what might be called the of its weave of signifiers (etymologically, the text is a tissue, a woven fabric). The reader of the Text may be compared to someone at a loose end (someone slackened off from any imaginary); this passably empty subject strolls -- it is what happened to the author of these lines, then it was that he had a vivid idea of the Text -- on the side of a valley, a flowing down below ( is there to bear witness to a certain feeling of unfamiliarity); what he perceives is multiple, irreducible, coming from a disconnected, heterogeneous variety of substances and perspectives: lights, colours, vegetation, heat, air, slender explosions of noises, scant cries of birds, children's voices from over on the other side, passages, gestures, clothes of inhabitants near or far away. All these are half identifiable: they come from codes which are known but their combination is unique, founds the stroll in a difference repeatable only as difference. So the Text: it can be it only in its difference (which does not mean its individuality), its reading is semelfactive (this rendering illusory any inductive-deductive science of texts -- no 'grammar' of the text) and nevertheless woven entirely with citations, references, echoes, cultural languages (what language is not?), antecedent or contemporary, which cut across it through and through in a vast stereophony. The intertextual in which every text is held, it itself being the text-between of another text, is not to be confused with some origin of the text: to try to find the 'sources', the 'influences' of a work, is to fall in with the myth of filiation; the citations which go to make up a text are anonymous, untraceable, and yet : they are quotations without inverted commas. The work has nothing disturbing for any monistic philosophy (we know that there are opposing examples of these); for such a philosophy, plural is the Evil. Against the work, therefore, the text could well take as its motto the words of the man possessed by demons ( 5: 9): 'My name is Legion: for we are many.' The plural of demoniacal texture which opposes text to work can bring with it fundamental changes in reading, and precisely in areas where monologism appears to be the Law: certain of the 'texts' of Holy Scripture traditionally recuperated by theological monism (historical or anagogical) will perhaps offer themselves to a diffraction of meanings (finally, that is to say, to a materialist reading), while the Marxist interpretation of works, so far resolutely monistic, will be able to materialize itself more by pluralizing itself (if, however, the Marxist 'institutions' allow it).

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