Roland Barthes

Resenha do livro: WERNECK, Mariza. O livro das noites: memória – escritura – melancolia. São Paulo: EDUC, 2020, 178p.

This study conducts an epistemological and contextual discourse analysis of the idea of knowledge in the philosophy of the 20th century. The main key stones of this work are as follows: the identification of the essential characteristics indicating the ontological genesis of the existing crisis of epistemological and ethical foundations; consideration of the main distinctive features of knowledge interpretation in epistemology and contextualism as a possible knowledge production instrument; study of the possibility of restoring an integral picture of the world (...) based on phenomenological ontologies; study of possibilities in the language domain from a hermeneutical point of view in the light of the resolution of epistemological contradictions. For all people interested in modern philosophy. (shrink)

Interjú az Új Symposion örökségéről, Jugoszláviáról, a vajdasági magyarság baloldali radikális hagyományáról, az avantgárdról stb.

Roland Barthes' famous essay "The Death of the Author" packs an astonishing number of logical howlers into its blessedly few pages. How did it become so firmly entrenched in the canon of literary theory?

Roland Barthes was a twentieth-century French literary critic, philosopher, and cultural theorist important in the trajectories of structuralism and poststructuralism. This article begins by examining Barthes' formative years and influences, and highlights his contributions made to structuralism and poststructuralism in France and beyond. The article then discusses the role that Barthes' work has played in the social and behavioral sciences, including how his writings have been appropriated by disciplines such as sociology and anthropology. Barthes' writings on history are also examined (...) in a disciplinary context. (shrink)

This paper aims to increase the reader’s understanding of how the notion of the ‘bobby on the beat’ has been elevated to iconic, if not mythical, status within British policing. In doing so, the article utilises the semiotic idea of myth, as conceptualized by Roland Barthes, to explore how through representations of the ‘bobby on the beat’ police officers have been projected in a more avuncular re-assuring role to a public fearful of crime, which fails to do service to the (...) signifying practices that accompany and embody the visible police patrol. Indeed, police patrol work secures social space for the State and although it does re-assure anxious members of society that their social world is safe and secure, for others, it further illustrates how their social space is fragile and troubled. On another level, the ‘bobby’ narrative has also been harnessed as part of a broader mythologizing of ‘Englishness’ and quintessential British characteristics. (shrink)

Timothy Scheie’s book on the importance of the theatre in Roland Barthes’ oeuvre begins with what Scheie poses as an enigma: Barthes wrote frequently of the theatre at the beginning of his career and then ceased to do so, without comment, after 1960. Scheie argues that Barthes’ abandonment of the theatre reveals something important about the development of his thoughts and even about his life. Scheie also considers Barthes’ early theatrical criticism and later use of theatrical metaphors to be an (...) under-considered aspect of the critic’s work. Performance Degree Zero is an ambitious work not so much because of what it argues, but because of its attempt to trace the theatre’s presence (or absence) during Barthes’ .. (shrink)

The sensory dimension of writing, which is never fully neutralised in the process of semiosis, remains aporetic in Derrida’s philosophy. I show how Barthes’ observations on pseudo-writing lead to his understanding of writing as a gesture, opening up post-structuralism to the body as absolutely non-repeatable, as the opposite of semiosis. The examination of Barthes’ account of the relationship between writing and the body leads to an aesthetic of physical responsiveness, which challenges the distinction between work, creator and viewer. In this (...) regard ‘seeing’ can neither be reduced to the infinite decoding of signs nor to an immediate perception, but rather can be understood as the playful contact with signs. Barthes’ notion of writing contributes to overcoming the limits of Derrida’s account of the sensory quality of writing without jeopardiz- ing the philosophical gain of deconstruction. (shrink)

Dans la Chanson de Roland, le rire du héros résonne étrangement aux oreilles du lecteur. Le présent article a pour objet d’en définir la nature et la portée véritables. Pour ce faire, il convient de renoncer aux interprétations psychologiques et de privilégier une approche anthropologique. C’est par le respect de la mouvance de l’œuvre qu’il est possible de construire une interprétation rigoureuse de ce rire : il s’agit d’une manifestation du furor guerrier. Mais ce rire n’est pas un simple motif (...) littéraire ; il s’inscrit en effet dans l’idéologie indo-européenne de la fonction guerrière et, sur ce point, la chanson de geste offre un exemple remarquable de rencontre entre cultures païenne et chrétienne. Si le rire de Roland exprime la méfiance devant la frénésie meurtrière que porte en lui tout guerrier, il traduit également la possession diabolique, dans une perspective chrétienne de condamnation du rire. In the mind of the reader of Chanson de Roland, the hero’s laughter sounds weird. The purpose of this essay is to define its nature and meanings. In this perspective, it is advisable to break up with the psychological interpretations and to prefer an anthropological approach. The respect of the textual mouvance makes a rigorous commentary possible and permits to define this laughter as an outward sign of warlike furor, yet it is not a mere literary motif but is part of Indo-European ideology of warrior. In this respect the poem gives a notable example of confluence of pagan and Christian cultures. Roland’s laughter both expresses the mistrust of murderous frenzy which potentially exists in every warrior and manifests demoniacal possession, due to Christian condemnation of laughter. (shrink)

Sartre's recollection, in Les Mots , of his first visit to the cinema is a multi-layered and ambivalent text through which Sartre proposes a number of interlocking arguments: concerning the contrast between the 'sacred' space of the theatre and the non-ceremonial space of the cinema, between the theatre as associated with paternal authority, and the cinema as associated with a clandestine bond with the mother. But the text also sets up a quasi-sociological account of the public Sartre encounters in the (...) cinema itself as revealing to him the truth of the social bond, a truth he expresses with the term 'adherence', and which he says he only rediscovered in his experience of being a prisoner in the Stalag in 1940. Rather than the basis of a sociological account of the social bond, which would seem at odds with Sartre's social philosophy, I read this as the expression of a desire for physical proximity. The space of the cinema thus develops a fantasy, and this is in continuity with the role of the cinema in the evolution traced in Les Mots , in which it is described as instigating a withdrawal into imaginary life and an indulgence in daydreaming. Through reference to Christian Metz and to Roland Barthes, whose essay 'En sortant du cinéma' is proposed as a parallel and a response to Sartre, I suggest that the 'true bond' of adherence which Sartre encounters is an unconscious rather than an epistemological truth. (shrink)

Figures majeures du moment théorique de la pensée française, R. Barthes et M. Foucault ont également été professeurs. Au Collège de France, ils n'ont eu de cesse d'esquiver l'ordre du discours. A partir d'une analyse génétique de la fabrique menant de l'archive enseignante au livre, l'essai fait dialoguer cours et oeuvre, afin de cerner le propre d'une attention constante et inquiète au discours.

Claude Lévi-Strauss holds that history and anthropology differ in their choice of complementary perspectives: history organizes its data in relation to conscious expressions of social life, while anthropology proceeds by examining its unconscious foundations. For R. G. Collingwood historical science discovers not only pure facts but considers a whole series of thoughts constituting historical life. Also Lévi-Strauss sees this: “To understand history it is necessary to know not only how things are, but how they have come to be.” However, Lévi-Strauss (...) does not perceive the double-sense of history, which can first be a record of historical “conscious” facts and second, a chain of unconscious or half-conscious acts. Like Lévi-Strauss, Charles Bally has derived the main theses of his theory from Saussure. However, contrary to Lévi-Strauss, Bally does not find structures at the inside of the phenomena but at their outside: “Our attention is drawn to the expressive side and not to the interior side of the facts of language.” Bally calls those structures not “history” but “style.” In Roland Barthes’s attempt to establish a structuralist system of fashion we can find a definition of style very similar to Bally’s. In the end, however, none of these thinkers addresses the fact that unconscious relations within historical life are constantly interlocked with conscious elements. (shrink)

In _The Preparation of the Novel_, a collection of lectures delivered at a defining moment in Roland Barthes's career, the critic spoke of his struggle to discover a different way of writing and a new approach to life. _The Neutral_ preceded this work, containing Barthes's challenge to the classic oppositions of Western thought and his effort to establish new pathways of meaning. _How to Live Together_ predates both of these achievements, a series of lectures exploring solitude and the degree of (...) contact necessary for individuals to exist and create at their own pace. A distinct project that sets the tone for his subsequent lectures, _How to Live Together_ is a key introduction to Barthes's pedagogical methods and critical worldview. In this work, Barthes focuses on the concept of "idiorrhythmy," a productive form of living together in which one recognizes and respects the individual rhythms of the other. He explores this phenomenon through five texts that represent different living spaces and their associated ways of life: Émile Zola's _Pot-Bouille_, set in a Parisian apartment building; Thomas Mann's _The Magic Mountain_, which takes place in a sanatorium; André Gide's _La Séquestrée de Poitiers_, based on the true story of a woman confined to her bedroom; Daniel Defoe's _Robinson Crusoe_, about a castaway on a remote island; and Pallidius's _Lausiac History_, detailing the ascetic lives of the desert fathers. As with his previous lecture books, _How to Live Together_ exemplifies Barthes's singular approach to teaching, in which he invites his audience to investigate with him -- or for him -- and wholly incorporates his listeners into his discoveries. Rich with playful observations and suggestive prose, _How to Live Together_ orients English-speaking readers to the full power of Barthes's intellectual adventures. (shrink)

L’intento del lavoro è di problematizzare alcuni aspetti, generalmente ritenuti emblematici, della relazione tra i litterati medievali e il libro – nelle sue declinazioni di Testo sacro, Libro della natura e auctoritates . L’impiego, come strumenti di lavoro, di concetti di recente elaborazione e di osservazioni di pensatori contemporanei sull’argomento, non è finalizzato ad attualizzare tale relazione, quanto piuttosto ad ampliare i punti di vista su di essa e a metterne alla prova la capacità di offrire originali spunti di riflessione. (...) Le proposte teoriche di Jacques Derrida, Michel Foucault e Roland Barthes sono qui adoperate come esemplificazioni di un’interpretazione che ha storicamente reso quasi paradigmatico il modo di leggere dei docti , specialmente altomedievali. Tuttavia, alcune definizioni della Scrittura – il libro per eccellenza – proposte da questi ultimi, nonché la teorizzazione del suo quadruplice senso sembrano smussare la radicalità di queste osservazioni. Concetti quali “funzione-autore” di Foucault e “testo” di Barthes sono invece adottati per considerare all’interno di una diversa cornice teorica il confronto dei doctores , in particolare bassomedievali, con le cosiddette auctoritates . Nella visione ordinaria la reverenza nei confronti dell’autore, divino o umano, la ricerca e la riproposizione fedele di un significato univoco dell’opera aldilà dei segni, naturali o culturali, che lo veicolano costituiscono tratti tipici dell’atteggiamento dei lettori medievali. A fronte di questi aspetti, tuttavia, è possibile sottolinearne altri eterodossi e perlopiù trascurati, quali la rilevanza attribuita all’interpretazione, prassi ineludibile e da disciplinare, al ruolo del lettore e alla sua fruizione attiva e produttiva dei testi. The aim of the work is to problematize some aspects generally considered representative of the relationship between medieval savants and the book - in its variations of Bible, Book of Nature and so-called auctoritates . The use, as tools, of newly developed concepts and observations of contemporary thinkers on this subject, is not aimed at updating this relationship, but rather at expanding the points of view on it and testing its ability to adduce original food for thought. The theoretical suggestions of Jacques Derrida, Michel Foucault and Roland Barthes are used here as examples of an interpretation that has historically made almost paradigmatic the way of reading of early medieval writers. However, some definitions of Scripture - the book by definition - proposed by them and the theory of its fourfold sense seem to blunt these drastic observations. Concepts such as Foucault’s "author-function" or Barthes’ "text" are used to consider in a different theoretical context the relation between late medieval thinkers and the so-called auctoritates . In ordinary vision the reverence for the divine or human author, the research and the revival of a true single meaning of his work beyond its natural or cultural signs are typical features of the attitude of medieval readers. In relation to these aspects, however, it is possible to highlight other heterodox and less considered ones, such as the importance given to the interpretation, inescapable practice that has to be regulated, to the reader’s role and to his active and productive use of texts. (shrink)

Roland Barthes remains one of the most influential cultural theorists of the postwar period and Image-Music-Text is his most widely taught work. Ed White provides students with a clear guide to this essential but difficult text. As students are increasingly expected to write across a range of media, Barthes' work can be understood as an early mapping of what we now call interdisciplinary or multidisciplinary study. The book's detailed section-by-section readings makes Barthes' most important writings accessible to undergraduate readers. This (...) book is a perfect companion for teaching and learning Barthes ideas in cultural studies and literary theory. (shrink)

An essential guide to an essential book, this first anthology on Camera Lucida offers critical perspectives on Barthes's influential text. Roland Barthes's 1980 book Camera Lucida is perhaps the most influential book ever published on photography. The terms studium and punctum, coined by Barthes for two different ways of responding to photographs, are part of the standard lexicon for discussions of photography; Barthes's understanding of photographic time and the relationship he forges between photography and death have been invoked countless times (...) in photographic discourse; and the current interest in vernacular photographs and the ubiquity of subjective, even novelistic, ways of writing about photography both owe something to Barthes. Photography Degree Zero, the first anthology of writings on Camera Lucida, goes beyond the usual critical orthodoxies to offer a range of perspectives on Barthes's important book. Photography Degree Zero includes essays written soon after Barthes's book appeared as well as more recent rereadings of it, some previously unpublished. The contributors' approaches range from psychoanalytical to Buddhist ; they include a history of Barthes's writings on photography and an account of Camera Lucida and its reception; two views of the book through the lens of race; and a provocative essay by Michael Fried and two responses to it. The variety of perspectives included in Photography Degree Zero, and the focus on Camera Lucida in the context of photography rather than literature or philosophy, serve to reopen a vital conversation on Barthes's influential work. (shrink)

The literary friendship between Alain Robbe-Grillet and Roland Barthes lasted 25 years. Everything attests to their deep and mutual intellectual esteem: their private correspondence, their published texts, their conversations - notably in the famous dialogue which gives its name to this work. Robbe-Grillet freely said he had very few true friends but, next to the publisher Jérôme Lindon, he always cited the name of Roland Barthes. In 1980, he wrote his own ‘I love, I don’t love’, published here for the (...) first time, thinking about his friend. In 1985, he predicted: ‘It is his work as a writer which will remain’. Ten years later, in 1995, he imagined him as an impatient, blithe novelist, merrily rewriting - ‘euphorically, with inexhaustible happiness’ - The Sorrows of Young Werther. This small collection of conversations and short texts by Robbe-Grillet is like the deferred echo of those that Roland Barthes dedicated to him in his Critical Essays in 1964. It offers fresh insight into the development of Robbe-Grillet’s own work as well as that of Barthes, and is a unique testimony to one of the most important literary friendships of our time. (shrink)

The paper examines Lévi-Strauss' criticisms of Sartre's conception of dialectical reason and history as presented in the last chapter of La Pensée Sauvage , suggesting that these criticisms are misplaced. Sartre's notion of reason and history in the Critique is much closer to structuralist accounts than Lévi-Strauss seems to recognize, but it differs in placing a strong emphasis on activity and praxis in place of the latter's passive conception of reason. The active role of the inquirer in structuralist thought is (...) examined using Roland Barthes' account of "The Structuralist Activity," which is shown to have important affinities with Sartre's own conception of the relation of structure and praxis in the Critique . I then briefly consider a modified conception of the role of history in structuralism expressed by Lévi-Strauss in the mid-seventies, suggesting that his altered position still fails to recognize the important role of praxis in structuralist accounts of history. I conclude by suggesting that Lévi-Strauss' criticisms are nonetheless important for illustrating the "Critical" character of Sartre's Critique. (shrink)

Leslie Hill is a literary critic, not a philosopher, but as a Professor of French Studies at Warwick University in England he is situated at an interesting, if possibly fatal, crossroads: on the one side is a venerable British tradition that thinks of criticism in terms of the elucidation and evaluation -- which is to say the elevation -- of literary monuments (F. R. Leavis); on the other there is recent French intellectual culture, where the boundaries between philosophy and literature (...) are often indeterminate, meaning particularly that the writing of both philosophy and criticism is nothing if not "modernist" in its embrace of nondiscursive forms of language, a practice reflected in Hill's own elliptical prose, with its recurrent play of chiasmus and oxymoron ("the readability of any text is made both possible and impossible only by the impenetrable shadow of the unreadable" [336]). (shrink)

Esej jest próbą przybliżenia ostatniej książki napisanej przez Rolanda Barthesa, która została właśnie przełożona na język polski. W dzienniku pisanym po śmierci matki, a zatytułowanym znamiennie Dziennikiem żałobnym, Barthes porusza kwestie żałoby, melancholii, depresji, odnosząc się zarówno do siebie i własnej straty, jak i podejmując dyskusję z Freudem, Lacanem czy psychoanalizą, zadając sobie przy tym pytanie, czy żałobnik po śmierci ukochanej osoby w ogóle chce wychodzić z żałoby i czy ma do tego jakiekolwiek prawo. Jest tu zatem ukazana ciekawa perspektywa (...) oglądu tego, co drzemie u samego jądra psychoanalizy, której wszak głównym zadaniem była praca z analizantem i - w trakcie godziny analitycznej - wyciąganie go z psychozy. Esej pokazuje również, co się dzieje z językiem żałobnika, w jaki sposób owo „pęknięcie”, którego nijak nie sposób zapełnić ani słowami, ani logosem, ani w końcu ciałem, które pozostaje, gdy ukochany umiera. I właśnie dziennik pisany jest takim językiem: pękniętym, bez żadnego celu, pozbawionym sensu. Owe fragmenty, którymi Barthesa zapełniał swój świat po śmierci matki, stanowią niezwykły dowód doświadczenia straty. (shrink)

'I sincerely believe that at the origin of teaching such as this we must always locate a fantasy'. This provoking remark was the starting point of the four lecture courses Roland Barthes taught as professor of literary semiology at the Collège de France. In these last years of his life, Barthes developed a perverse reading theory in which the demonic stupidity of the fantasy becomes an active force in the creation of new ways of thinking and feeling. The perverse art (...) of reading offers the first extensive monograph on these lecture courses. The first part examines the psychoanalytical and philosophical intertexts of Barthes' 'active semiology' (Lacan, Kristeva, Winnicott, Nietzsche, Deleuze and Foucault), while the second part discusses his growing attention for the intimate, bodily involvement in the act of reading. Subsequently, this study shows how Barthes' phantasmatic reading strategy radically reviews the notions of space, detail and the untimely in fiction, as well as the figure of the author and his own role as a teacher. It becomes clear that the interest of Barthes' lecture courses goes well beyond semiology and literary criticism, searching the answer to the ethical question par excellence: how to become what one is, how to live a good life. (shrink)

Despite the central role that the concept of God played in Kitarō Nishida's philosophy—and more broadly, within the Kyoto School which formed around Nishida—Anglophone studies of the religious philosophy of modern Japan have not seriously considered the nature and role of God in Nishida's thought. Indeed, relevant Anglophone studies even strongly suggest that where the concept of God does appear in Nishida's writings, such a concept is to be dismissed as a 'subjective fiction', a 'penultimate designation', or a peripheral Western (...) intrusion with no genuine relationship to the core of Nishida's thought. However, a careful study of Nishida's own writings reveals that for Nishida, in his own words, God is 'that which is indispensable and decisive'. For the first time in English, this present study reveals Nishida's view of God, especially examining Nishida's debt to the theologian Karl Barth and Christianity. (shrink)

The opening of the fourth session of The Neutral — the course given by Roland Barthes at the Collège de France in 1977–8 — is marked by a dramatic spillage of ink. Rather than take this as an incidental, trivial moment, I read it as one of the many ‘ink blots’ that colour the work of Barthes. Tracing his ‘almost obsessive relation to writing instruments’ and the material act of inscription, this essay relates the ‘ink blots’ to the development of (...) a ‘non-arrogant’, non-expressive, non-idealistic theory of language in The Neutral and other texts by Barthes. (shrink)

Roland Barthes’s work has confronted contemporary culture with the question of what happens when an object turns into language. This question allowed Barthes to “construct” well known cultural objects — from novels to music, from images to classical rhetoric, from love to theatre — in an unthought way, and to create new, even more unknown ones — from contemporary myth to fashion, from Japan to food culture. In this paper, Barthes’s cultural criticism is considered alongside with the issues raised by (...) Cultural Studies. More specifically, Barthes’s constant reflection on the myth undoubtedly entitles us to connect his cultural criticism to the work that, in those same years, was being produced by the English forge of Cultural Studies, namely the so-called “Birmingham school”. Even today, Barthes’s work makes it possible for semiotics to be, to use his expressions, both “the science of every imagined universe”, and a mathesis singularis, rather than universalis, that is to say a systematic way to approach the singularity of the objects of knowledge. On the basis of this “transcendental reduction”, we can therefore wish for a “second birth” and a transvaluation of linguistics and of semiotics, both to be applied through varied and disseminated forms ofintellectual activism. (shrink)

This article addresses Barthes’s development from a structuralist semiotician towards an affectively responding reader in terms of ‘postrational’ subjectivity. In light of his whole oeuvre, Barthes anticipates the understanding of emotion as an integral part of cognition presented in contemporary social neuroscience. To illustrate Barthes’s growing awareness of the importance of this epistemological move, the article starts from his textual ‘reality effect’ as a critical vehicle of realist representation. It then shifts to his attempt at conceptualising an affective reading which (...) resists the universalising idea of one ideologically determined signified. Barthes’s progress towards embracing the actual reader’s embodied self-feeling is prompted by two conceptual milestones: the obtuse meaning found incinematic stills, and the experience of punctum felt in photos. In light of his lectures in the Collège de France, Barthes substitutes the Husserlian disembodied method of introspection with the Chinese wu-wei as a reading practice. As a result, his Zen-Buddhist concentration on bodily feelings elicited by visual/verbal images becomes a method capable of creating a fruitful link between language and wordless cognition. Finally, the article proposes an idea of the ‘embodied reality effect’ by reading affectively two similar scenes interpreted by the early and late Barthes himself. (shrink)

This article addresses Barthes’s development from a structuralist semiotician towards an affectively responding reader in terms of ‘postrational’ subjectivity. In light of his whole oeuvre, Barthes anticipates the understanding of emotion as an integral part of cognition presented in contemporary social neuroscience. To illustrate Barthes’s growing awareness of the importance of this epistemological move, the article starts from his textual ‘reality effect’ as a critical vehicle of realist representation. It then shifts to his attempt at conceptualising an affective reading which (...) resists the universalising idea of one ideologically determined signified. Barthes’s progress towards embracing the actual reader’s embodied self-feeling is prompted by two conceptual milestones: the obtuse meaning found incinematic stills, and the experience of punctum felt in photos. In light of his lectures in the Collège de France, Barthes substitutes the Husserlian disembodied method of introspection with the Chinese wu-wei as a reading practice. As a result, his Zen-Buddhist concentration on bodily feelings elicited by visual/verbal images becomes a method capable of creating a fruitful link between language and wordless cognition. Finally, the article proposes an idea of the ‘embodied reality effect’ by reading affectively two similar scenes interpreted by the early and late Barthes himself. (shrink)

Roland Barthes was suspicious about the ability of music and voice to signify, as revealed in many of his writings. However, his somewhat limited views on music and voice need not to restrain from profiting his semiotic theorising and his reasoning, which can be adapted for musical instances in ways not envisaged by Barthes. The Neutral (Le Neutre) is a recurrent topic in Barthes’s oeuvre from his first book, Writing Zero Degree (1953) up to his 1978 lecture series on The (...) Neutral in Collège de France (published in 2002). This paper explores how Barthes’s Neutral may enhance a special kind of listening. The enigmatic sonorities emitted by the Invisible Choir in Richard Wagner’s Parsifal (1882) serve as the foil in this task, more precisely a phrase voiced by female altos and male tenors (“Nehmet hin meinen Leib [...]”, Act I). It is not its semantic content mediated by (written) language that is of interest here but how this phrase has been voiced, andfurthermore, how Barthes’s Neutral may be heard in and beneath it. Several commercially available live recordings made in Bayreuth have offered playground for listening to and for The Neutral. As my analysis shows, the audible Neutral is not a separate entity but works in conjunction with other modes of signification: visual, textual, biographical, spatial. (shrink)