Georg Lukács wrote The Theory of the Novel in 1914-1915, a period that also saw the conception of Rosa Luxemburg's Spartacus Letters, Lenin's Imperialism: The Highest Stage of Capitalism, Spengler's Decline of the West, and Ernst Bloch's Spirit of Utopia. Like many of Lukács's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, (...) and Husserl. The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukács's last great work before he turned to Marxism-Leninism. (shrink)

Georg Lukács wrote The Theory of the Novel in 1914-1915, a period that also saw the conception of Rosa Luxemburg's Spartacus Letters, Lenin's Imperialism: The Highest Stage of Capitalism, Spengler's Decline of the West, and Ernst Bloch's Spirit of Utopia. Like many of Lukács's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, (...) and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukács's last great work before he turned to Marxism-Leninism. (shrink)

Between 1946 and 1965, a period during which her contemporaries are calling into question the value of traditional novelistic realism, Simone de Beauvoir develops an extended and nuanced account of the philosophical significance of the realist novel in essays such as “Littérature et métaphysique”, “An American Renaissance in France”, and “Que peut la littérature?”. Beauvoir’s central claim is that novels do philosophical work not by articulating theoretical positions or illustrating abstract themes but by reorienting philosophical ways of understanding truth, (...) world, and reality in and through their very form. Her analysis delineates key.. (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the (...) works of Nietzsche and Max Weber. (shrink)

Tom Eyers contrasts the different “movements” of the novel and the lyric poem: while moments of stasis in the novel are swept up in its narrative trajectory, atemporal moments in poetry can be juxtaposed against other kinds of temporality — for Eyers’s purposes, most importantly the temporalities of politics and history. The Theory of the Novelbecomes a theory of the lyric, undoing the persistent belief that history can only be made to appear in narrative.

For the last two centuries the novel has been the predominant literary genre; but the generic identity of the novel is far from established. Attempts to define the novel have focussed on formal features of particular types of texts, with the result that definitions of “the” novel have merely canonized one or another of the innumerable novelistic manifestations—Bildungsroman, eighteenth-century English novels, novels of the kind George Eliot or Henry James or Marcel Proust or Feodor Dostoevsky wrote, (...) etc. By basing themselves upon such formal attributes, such definitions exclude a vast number of potential texts on essentially normative grounds. Further, the history of the novel has outgrown and contradicted those conceptions; no sooner than a theory has been formulated, the novel itself has moved forward, adapting to changing conditions and substituting for those formal properties a set of new ones, thus rendering the theories obsolete and revealing the inadequacy of formalist categories to define the genre. This predicament is certainly not unique to the theory of the novel but rather a necessary concomitant of any theoretical project; what makes any attempt to theorize about the novel particularly vulnerable is the genre's resistence to formalist analysis, its lack of precisely those organizing categories upon which a formalist theory of any genre can be built. (shrink)

This book explores the aesthetics of the novel from the perspective of Continental European philosophy, presenting a theory on the philosophical definition and importance of the novel as a literary genre. It analyses a variety of individuals whose work is reflected in both theoretical literary criticism and Continental European aesthetics, including Mikhail Bakhtin, Georg Lukács, Theodor Adorno, and Walter Benjamin. Moving through material from eighteenth century and ancient Greek philosophy and aesthetics, the book provides comprehensive coverage of (...) the major positions on the philosophy of the novel. Distinctive features include the importance of Vico’s view of the epic to understanding the novel, the importance of Kierkegaard’s view of the novel and irony along with his other aesthetic views, the different possibilities associated with seeing the novel as ‘mimetic’ and the importance of Proust in understanding the genre in all its philosophical aspects, relating the issue of the philosophical aesthetics of the novel with the issue of philosophy written as a novel and the interaction between these two alternative positions. (shrink)

Philologus, founded in 1846, is one of the oldest and most respected periodicals in the field of Classics. It publishes articles on Greek and Latin literature, historiography, philosophy, history of religion, linguistics, reception, and the history of scholarship. The journal aims to contribute to our understanding of Greco-Roman culture and its lasting influence on European civilization. The journal Philologus, conceived as a forum for discussion among different methodological approaches to the study of ancient texts and their reception, publishes original scholarly (...) contributions with a strong international focus. Publications languages are: German, English, Italian, French. As of 2014 the publication of supplementary volumes will be resumed. The series Philologus. Supplemente / Philologus. Supplementary Volumes will publish monographs and edited volumes pertaining to all aspects of the study of ancient literature and its reception, with a special focus on topics concerning literary theory, philosophy and the history of scholarship from an interdisciplinary perspective. (shrink)

A familiar feature of our moral responsibility practices are pleas: considerations, such as “That was an accident”, or “I didn’t know what else to do”, that attempt to get agents accused of wrongdoing off the hook. But why do these pleas have the normative force they do in fact have? Why does physical constraint excuse one from responsibility, while forgetfulness or laziness does not? I begin by laying out R. Jay Wallace’s (Responsibility and the moral sentiments, 1994 ) theory (...) of the normative force of excuses and exemptions. For each category of plea, Wallace offers a single governing moral principle that explains their normative force. The principle he identifies as governing excuses is the Principle of No Blameworthiness without Fault: an agent is blameworthy only if he has done something wrong. The principle he identifies as governing exemptions is the Principle of Reasonableness: an agent is morally accountable only if he is normatively competent. I argue that Wallace’s theory of exemptions is sound, but that his account of the normative force of excuses is problematic, in that it fails to explain the full range of excuses we offer in our practices, especially the excuses of addiction and extreme stress. I then develop a novel account of the normative force of excuses, which employs what I call the “Principle of Reasonable Opportunity,” that can explain the full range of excuses we offer and that is deeply unified with Wallace’s theory of the normative force of exemptions. An important implication of the theory I develop is that moral responsibility requires free will. (shrink)

Research ethics committees (RECs) evaluate whether the risk-benefit ratio of a study is acceptable. Decentralized clinical trials (DCTs) are a novel approach for conducting clinical trials that potentially bring important benefits for research, including several collateral benefits. The position of collateral benefits in risk-benefit assessments is currently unclear. DCTs raise therefore questions about how these benefits should be assessed. This paper aims to reconsider the different types of research benefits, and their position in risk-benefit assessments. We first propose a (...) categorization of research benefits, based on the types of benefits that can be distinguished from the literature and ethical guidelines. Secondly, we will reconsider the position of collateral benefits. We argue that these benefits are not fundamentally different from other benefits of research and can therefore be included in risk-benefit assessments of DCTs. (shrink)

The Art of Being: Poetics of the Novel and Existential Philosophy offers an account of the poetics of the realist novel, based on how the novel reorients philosophy in the nineteenth and twentieth century. Philosophers such as Kierkegaard, Sartre, and Beauvoir not only read novels and use novelistic techniques of representation in their work, but also discover a radically new way of thinking about the relation between the form of the novel and the nature of self-knowledge, (...) freedom, and world. Drawing upon a rich archive of existentialists writing on the novel, Ong argues that for these thinkers the poetics of the novel in its classic phase - the nineteenth- and twentieth-century realist novel - discloses the conditions for thinking about the meaning of existence. Bringing together philosophy, novel theory, and intellectual history with groundbreaking readings of the novels of Tolstoy, Eliot, Austen, James, Flaubert, and Zola, this study reveals how the novel engages with philosophically rich notions of freedom, world, and the unfinished character of human life in its very form. (shrink)

The Sense of a Beginning is the first comprehensive exploration of the openings of novels. With a title that deliberately echoes Frank Kermode's famous book on endings, the book addresses the formal challenge of opening lines, especially in modernism, and illustrates their significance to both literary creation and literary criticism. Niels Buch Leander's approach is wide-ranging, examining how beginnings in fiction relate to beginnings in nature, how they work from a formal and narrative point of view, how modernist self-awareness plays (...) out in openings, and how openings have altered criticism itself through intertextuality. Drawing on examples from D. H. Lawrence, Thomas Mann, Paul Valery, and more, as well as appraisals by critics like Roland Barthes and Edward Said, Leander fills a truly surprising gap in literary scholarship. (shrink)

There are long-standing questions about the Big Bang: What were its properties? Was there nothing before it? Was the universe always here? Many conceptual issues revolve around time. This paper gives a novel model based on McTaggart’s temporal distinction between the A-series (future-present-past) and B-series (earlier-times to later-times). These series are useful while situated in a Presentist and Fragmentalist account of quantum mechanics, one in which the consistency with the Special Relativity (in particular the relativity of simultaneity) will be (...) made explicit (section 6). This allows us to make a fruitful distinction between two pertinent questions: what happens as we go to earlier times toward the Big Bang? And: what happens as we go further into the past toward the Big Bang? (shrink)

This book engages in a critical discussion on how to respect and promote patients’ autonomy in difficult cases such as palliative care and end-of-life decisions. These cases pose specific epistemic, normative, and practical problems, and the book elucidates the connection between the practical implications of the theoretical debate on respecting autonomy, on the one hand, and specific questions and challenges that arise in medical practice, on the other hand. Given that the idea of personal autonomy includes the notion of authenticity (...) as one of its core components, the book explicitly includes discussions on underlying theories of the self. In doing so, it brings together original contributions and novel insights for “applied” scenarios based on interdisciplinary collaboration between German and Serbian scholars from philosophy, sociology, and law. It is of benefit to anyone cherishing autonomy in medical ethics and medical practice. (shrink)

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ethics, Theory and the NovelRichard FreadmanEthics, Theory and the Novel, by David Parker; x & 218 pp. Cambridge: Cambridge University Press, 1994, $54.95 paper.“The word ‘ethics’ seems to have replaced ‘textuality’ as the most charged term in the vocabulary of contemporary literary and cultural theory”— so writes Steven Connor in the TLS. The claim will strike some as surprising—not least the so-called “humanist” critics (...) who for almost three decades have been defending ethical discourse against attacks from proponents of “literary and cultural theory.” There have been various intellectual sources for these attacks: neo-Marxists have claimed that ethical discourse is intrinsically class-specific and therefore ideological; psychoanalytic critics and theorists have often eschewed ethical inquiry in the belief that human conduct is predominantly determined by amoral unconscious forces; many feminists have argued that traditional ethical discourses are rendered untenable by their “gendered” histories; poststructuralists, while in some cases wanting to keep ethics on the agenda, have found it disconcertingly hard—even impossible—to conjure worthwhile ethical discourse out of a position which denies the existence of “centered” moral agents, and which sees language as inherently slippery and self-contradictory; postcolonialists tend to see Western ethical discourses as culpably ethnocentric. And so on.Yet, whatever the rhetoric of these and other strands of literary and cultural theory, it is too simple to say that they have renounced ethics altogether. Clearly, feminism, postcolonialism, Marxism, and other movements are ethical projects, and one of David Parker’s central points in Ethics, Theory, and the Novel is that the rhetoric of ethical refusal on the part of some proponents of these movements reflects an act of costly and unwarranted cultural repression: “the expansive moment of poststructuralism in the 1970s and early 1980s has suppressed some discursive possibilities which, constituted as we are partly by [End Page 519] various religious and humanistic traditions, we stand in abiding need of, and are poorer without” (pp. 3–4). Another casualty of the process, he argues, has been literature itself: it has been downgraded by the proponents of cultural studies, relegated to secondary, evidential status. Parker wants to retrieve cultural centrality and prestige for literature, and to insist that literary theory needs a rich conception of canonical literature, which “ought to be regarded as Theory’s resistant Other” (p. 6). Together with humanist criticism itself, such texts should function as the “subversive Other to the suppressive will of hegemonic Theory” (p. 146).The sense of regret at suppressed human richness and possibility is everywhere apparent in this subtle, deeply considered book. Parker’s characterization of our ethical and broader cultural predicament owes much to Charles Taylor’s monumental Sources of the Self; in particular, to Taylor’s claim that we need to “acknowledge the full range of goods we live by” (p. 20), and his three-fold account of our ethical traditions: Kantian/Judeo-Christian, Enlightenment, Romantic. Out of the cultural pluralism inherent in Taylor’s project Parker fashions a critical pluralism which reads, and also evaluates, novels in the light of their treatment of the “various goods”—the ethical strands—they explore, dramatize, and embody. His principle texts are Middlemarch, Anna Karenina, The White Peacock, and Women in Love. It is central to his case that with variousness comes tension and conflict, and that the greatest literature is that which gives ethical complexity and diversity the least reductive, “the fullest, most engaged and most intelligent examination” (p. 197). Such writing constitutes a canon—an institution for which Parker offers a courageous and compelling defense. He argues that some texts just are better than others at reflecting “the full range of good we live by,” and that, far from being merely an expression of supremacist cultural bias, the ethnocentrism of the Western canon actually schools us in “a long ethical tradition of self-reflection precisely on the tendency to self-righteous superiority” (p. 50).Literature’s contribution to “self-reflection” is crucial precisely because we are so prone to repress, to forget: the cultural selectivity against which Taylor warns is mirrored and enacted in the individual psyche. Parker is particularly concerned with two kinds of forgetting: a righteousness which blinds us... (shrink)

The epistemic basing relation is the relation which must hold between a person's belief and the adequate reasons for holding that belief if the belief is to be epistemically justified by those reasons. Although the basing relation is a fundamental component of any adequate theory of epistemic justification, it has received scant attention in the literature. In this paper, I propose a novel causal analysis of the basing relation, one which helps to characterize an intemalist element which, I (...) shall argue, is required of any successful account of epistemic justification, and which confirms current trends away from coherentist and reliabilist theories of justification. (shrink)

The epistemic basing relation is the relation which must hold between a person's belief and the adequate reasons for holding that belief if the belief is to be epistemically justified by those reasons. Although the basing relation is a fundamental component of any adequate theory of epistemic justification, it has received scant attention in the literature. In this paper, I propose a novel causal analysis of the basing relation, one which helps to characterize an intemalist element which, I (...) shall argue, is required of any successful account of epistemic justification, and which confirms current trends away from coherentist and reliabilist theories of justification. (shrink)

Political Economy and the Novel: A Literary History of 'Homo Economicus' provides a transhistorical account of homo economicus (economic man), demonstrating this figure's significance to economic theory and the Anglo-American novel over a 250-year period. Beginning with Adam Smith's seminal texts - Theory of Moral Sentiments and The Wealth of Nations - and Henry Fielding's A History of Tom Jones, this book combines the methodologies of new historicism and new economic criticism to investigate the evolution of (...) the homo economicus model as it traverses through Ricardian economics and Jane Austen's Sanditon; J. S. Mill and Charles Dickens' engagement with mid-Victorian dualities; Keynesianism and Mrs Dalloway's exploration of post-war consumer impulses; the a/moralistic discourses of Friedrich von Hayek, and Ayn Rand's Atlas Shrugged; and finally the virtual crises of the twenty-first century financial market and Don DeLillo's Cosmopolis. Through its sustained comparative analysis of literary and economic discourses, this book transforms our understanding of the genre of the novel and offers critical new understandings of literary value, cultural capital and the moral foundations of political economy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ethics, Theory and the NovelLeon SuretteEthics, Theory and the Novel, by David Parker; x & 218 pp. Cambridge: Cambridge University Press, 1994, $54.95.David Parker’s stated purpose in Ethics, Theory and the Novel is to ground the value of “canonical works” of literature in the “ethical interest,” which each of them embodies in the meditation and exploration of “the clashes of moral value” (p. (...) 38). He is self-consciously responding to the strictures of neo-Marxism, feminism, and deconstruction which allegedly see “the canon simply as the repository of conservative values” and therefore reject it (p. 51). In order to demonstrate this capacity of imaginative literature Parker provides ethical analyses of scenes in George Eliot’s Middlemarch, Tolstoy’s Anna Karenina, and D. H. Lawrence’s The White Peacock, Women in Love, and Lady Chatterley’s Lover. The book divides into two projects, since Parker also argues for the pertinence of ethics itself quite apart from the value of imaginative literature as a repository of serious ethical thought. Part one makes the theoretical case, and part two applies the theory.For the theory he takes as his champions Martha Nussbaum, Iris Murdoch, the late Australian critic, S. L. Golberg, and the Canadian political scientist, Charles Taylor. From Nussbaum he derives the claim that “literature can be moral philosophy” (p. 34). From Taylor he takes a triadic schema of Western [End Page 247] culture: Judeo-Christian-Kantian, Liberal-Enlightenment-rational, and Romantic-irrational-egoistic (p. 20) as the sources of our ethical thinking. Murdoch and Goldberg are deployed as predecessors in his own practice of ethical analysis of literary works. Parker’s claim is that imaginative literature exhibits the dynamic tensions of these conflicting ethical discourses.Parker’s discussion is intelligent and well-informed. His position is, in my view, perfectly defensible—indeed traditional. That said, this book seems to be as much a symptom of the malaise afflicting literary criticism as a cure. To this reader the theoretical portion is not faithful to any of his champions, but is a dog’s breakfast of “theoretical” postures gathered from Derrida, Cavell, de Man, Rorty, Foucault, and Frederic Jameson—as well as from those named above. The problem is not that Parker misunderstands or misrepresents their thought, but rather that he treats theoretical discourse as a flea market from which he can assemble pre-owned furniture for his own residence.The practice of literary criticism encourages such rummaging among other people’s belongings. It is appropriate for commentators on a literary work of art to select from previous commentary those observations and insights they regard as sound, and to reject or ignore those viewed as unsound. Nonetheless it is difficult to understand how a discourse which finds one leg in Marxist discourse, a second in Freudian, a third in phenomenological, and a fourth in Heideggerean or Derridean discourse can be expected to stand four square.Ethics, Theory and the Novel can be defended as an exercise in bricolage—and quite an impressive one in its own way. Like the handyman, Parker has cobbled together an ethicist criticism out of what is available or ready-at-hand in other discourses. But—as with many a home project—one can still see its flea market provenance. In his critical analysis of the novels, Parker shows himself to be a careful and perceptive reader. But I must confess that his ethical analyses seemed very like old-fashioned moral analysis of character motivation. I would not disagree with his claim that “an ethical vocabulary... is essential to the full understanding of the created fictional situation” (p. 191). However, his argument for a dialogic plurivocity in the ethical discourse of Western fiction is one that has been previously put by Mikhail Bakhtin from within Marxism. It is, I think, a serious oversight that Bakhtin is never mentioned—even though Parker’s position is distinguishable from Bakhtin’s in that his dialogue is between perennial ethical schemata and Bakhtin’s is between hegemonic and subversive discourses.Leon SuretteUniversity of Western OntarioCopyright © 1996 The Johns Hopkins University Press... (shrink)

The new theory of reference has won popularity. However, a number of noted philosophers have also attempted to reply to the critical arguments of Kripke and others, and aimed to vindicate the description theory of reference. Such responses are often based on ingenious novel kinds of descriptions, such as rigidified descriptions, causal descriptions, and metalinguistic descriptions. This prolonged debate raises the doubt whether different parties really have any shared understanding of what the central question of the philosophical (...) theory of reference is: what is the main question to which descriptivism and the causal-historical theory have presented competing answers. One aim of the paper is to clarify this issue. The most influential objections to the new theory of reference are critically reviewed. Special attention is also paid to certain important later advances in the new theory of reference, due to Devitt and others. (shrink)

The aims of this paper are to: (1) identify the best framework for comprehending multidimensional impact of deep brain stimulation on the self; (2) identify weaknesses of this framework; (3) propose refinements to it; (4) in pursuing (3), show why and how this framework should be extended with additional moral aspects and demonstrate their interrelations; (5) define how moral aspects relate to the framework; (6) show the potential consequences of including moral aspects on evaluating DBS’s impact on patients’ selves. Regarding (...) (1), I argue that the pattern theory of self can be regarded as such a framework. In realizing (2) and (3), I indicate that most relevant issues concerning PTS that require resolutions are ontological issues, including the persistence question, the “specificity problem”, and finding lacking relevant aspects of the self. In realizing (4), I identify aspects of the self not included in PTS which are desperately needed to investigate the full range of potentially relevant DBS-induced changes—authenticity, autonomy, and responsibility, and conclude that how we define authenticity will have implications for our concept of autonomy, which in turn will determine how we think about responsibility. Concerning (5), I discuss a complex relation between moral aspects and PTS—on one hand, they serve as the lens through which a particular self-pattern can be evaluated; on the other, they are, themselves, products of dynamical interactions of various self-aspects. Finally, I discuss (6), demonstrating novel way of understanding the effects of DBS on patients’ selves. (shrink)

Intellectual Dependability is the first research monograph devoted to addressing the question of what it is to be an intellectually dependable person--the sort of person on whom one's fellow inquirers can depend in their pursuit of epistemic goods. While neglected in recent scholarship, this question is an important one for both epistemology--how we should conceptualize the ideal inquirer--and education--how we can enable developing learners to grow toward this ideal. The book defends a virtue theory according to which being an (...) intellectually dependable person is distinctively a matter of possessing a suite of neglected virtues called "the virtues of intellectual dependability" that are themselves distinctively concerned with promoting epistemic goods in others' inquiries. After defending the existence and educational significance of these virtues as a group, the book turns toward the project of identifying and conceptualizing several specific instances of these virtues in detail. Virtues discussed include intellectual benevolence, intellectual transparency, communicative clarity, audience sensitivity, and epistemic guidance. In each case, an interdisciplinary treatment of the nature of the virtue and its relationship to other virtues, vices, and personality features is offered, drawing especially on relevant research in Philosophy and Psychology. The book concludes with a chapter devoted to identifying distinctive ways these virtues of intellectual dependability are manifested when it is inquiring communities, rather than individuals, that occupy the position of intellectual dependence. By directing attention to the ideal of intellectual dependability, the book marks a novel turn of scholarly interest explicitly toward a neglected dimension of the ideal inquirer that will inform both epistemological theorizing and educational practice. (shrink)

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one (...) can follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one (...) can follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one (...) can follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one (...) can follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)