Relevant bibliographies by topics / Barthes, Roland. Camera Lucida

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Academic literature on the topic 'Barthes, Roland. Camera Lucida'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Barthes, Roland. Camera Lucida"

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Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification." Representations 80, no. 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.

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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identification and misidentification figure into the viewing of images, and suggests that contact between the beholder and the photograph actually eclipses the relation between the photograph and its subject. Barthes's focus on the emotional response of the viewer disguises the fact that he misidentified key details in Camera Lucida's photographs, most significantly in a 1927 portrait by James Van Der Zee and in the ''Winter Garden Photograph.'' This latter photograph of Barthes's recently deceased mother as a small child is famously not illustrated in the book. This essay argues that it is fictional. These ''mistakes'' suggest that Camera Lucida undermines its ostensible basis in indexicality. The subject did not have to be in front of the camera after all. The present rereading of the text from this point of view articulates a notion of performativity according to which the nature of the contact that exists between the image and the viewer informs the way an image is understood. Barthes's desire to find his mother again through her photograph to a large extent acts out his desire to re(per)form and make permanent his relation to her, a desire that he elucidates in the process of describing his search for her picture and his reaction to it when he finds it. This performative element is charged with identification; the person the narrator (Barthes) seeks, in his mother, is himself. A close analysis of the ''Winter Garden Photograph,'' as described by Barthes, shows how performances of identification are inscribed with gender and familial configurations.
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Badmington, Neil. "Punctum Saliens: Barthes, Mourning, Film, Photography." Paragraph 35, no. 3 (November 2012): 303–19. http://dx.doi.org/10.3366/para.2012.0061.

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In the light of the publication of Roland Barthes's Mourning Diary (2009), this essay examines how the influential theory of the photographic punctum has cinematic roots which are repressed in Barthes's Camera Lucida (1980). My aim is not to repeat familiar arguments about how Barthes's ‘The Third Meaning’ (1970) anticipates the photographic punctum in a cinematic context; it is, rather, to attend specifically to Mourning Diary as a much closer, more precise precursor which has been visible only since 2009, and which casts new light upon the work of Roland Barthes.
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Wilson, Harry Robert. "The Theatricality of the Punctum: Re-Viewing Camera Lucida." Performance Philosophy 3, no. 1 (June 25, 2017): 266. http://dx.doi.org/10.21476/pp.2017.31126.

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I first encountered Roland Barthes�s Camera Lucida�(1980) in 2012 when I was developing a performance on falling and photography. Since then I have re-encountered Barthes�s book annually as part of my practice-as-research PhD project on the relationships between performance and photography. This research project seeks to make performance work in response to Barthes�s book � to practice with Barthes in an exploration of theatricality, materiality and affect. This photo-essay weaves critical discourse with performance documentation to explore my relationship to Barthes�s book. Responding to Michael Fried�s claim that Barthes�s Camera Lucida is an exercise in �antitheatrical critical thought� (Fried 2008, 98) the essay seeks to re-view debates on theatricality and anti-theatricality in and around Camera Lucida. Specifically, by exploring Barthes�s conceptualisation of the pose I discuss how performance practice might re-theatricalise the punctum and challenge a supposed antitheatricalism in Barthes�s text. Additionally, I argue for Barthes�s book as an example of philosophy as performance and for my own work as an instance of performance philosophy.
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Tenório da Motta, Leda, and Rodrigo Fontanari. "Roland Barthes in The camera lucida, the infidel semiologist." Matrizes 6, no. 1-2 (December 11, 2012): 161. http://dx.doi.org/10.11606/issn.1982-8160.v6i1-2p161-168.

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Levy, Lior. "The Question of Photographic Meaning in Roland Barthes’ Camera Lucida." Philosophy Today 53, no. 4 (2009): 395–406. http://dx.doi.org/10.5840/philtoday20095347.

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Burnett, Ron. "Camera Lucida: Roland Barthes, Jean‐Paul Sartre and the photographic image." Continuum 6, no. 2 (January 1993): 5–24. http://dx.doi.org/10.1080/10304319309359396.

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O'MEARA, LUCY. "Atonality and Tonality: Musical Analogies in Roland Barthes's Lectures at the Collège de France." Paragraph 31, no. 1 (March 2008): 9–22. http://dx.doi.org/10.3366/e0264833408000035.

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Though explicit references to music are infrequent in Barthes's Collège de France lectures, Barthes's use of music in other work from the 1970s makes it clear that music can act as a fruitful analogy in consideration of the text. This article uses the serialist or atonal analogy, as set up by Barthes in ‘From Work to Text’ and elsewhere, to examine the structuring of Comment vivre ensemble and The Neutral. In viewing these courses as serial or open works we can, it is hoped, arrive at a fuller understanding of their methodology and the role they ascribe to the listener or reader. The atonal analogy, however, is left behind in 1978, as Barthes's major projects (La Préparation du roman and Camera Lucida) employ more conventional, developmental structuring. It is here, then, that the analogy with tonality, again suggested by Barthes, can be usefully employed.
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Lèal, Alfredo. "El fracaso de la fotografía: una respuesta intermedial al programa fenomenológico de camera lucida de Roland Barthes." Fotocinema. Revista científica de cine y fotografía 2, no. 19 (July 22, 2019): 189. http://dx.doi.org/10.24310/fotocinema.2019.v2i19.6652.

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El presente artículo pretende dar cuenta de las limitantes de la propuesta teórica de Roland Barthes para analizar la fotografía en tanto ésta se considere a la luz del programa fenomenológico del filósofo francés. Dada la importancia de la teoría de Barthes en el campo de la fotografía, creemos que dichas limitantes sólo son perceptibles si el programa de Barthes se lee desde una postura intermedial, es decir, desde la relación que la fotografía —en tanto re-presentación material de la realidad— presupone y desarrolla en torno a sí con respecto a instancias histórico-mediáticas que se encuentran en contradicción a las esencias regionales reconocidas por Barthes, tal como lo intentamos hacer en el presente trabajo. De esta forma, la fotografía se presenta como un suplemento que pretende colmar, materialmente, la realidad. Un suplemento que, tanto en su constitución como en sus consecuencias, se basa en un sustrato metafísico, a saber, el aparecimiento absoluto o absoluto aparecimiento del objeto fotografiado.
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Tambling, Jeremy. "Towards a psychopathology of opera." Cambridge Opera Journal 9, no. 3 (November 1997): 263–79. http://dx.doi.org/10.1017/s0954586700004821.

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Roland Barthes discusses a postmodern condition in his last book, Camera Lucida: everything is signified and visible, and everything has the flatness of the photographic image; even death is rendered platitudinous, flat. If everything can be represented, nothing can be represented that would distinguish it from the mass of images already available; and if everything is for consumption in conditions of distraction, then difference disappears; we are left in a state Barthes calls ‘indifference’. Barthes then looks for the punctum: any point of unrepresentability that will punctuate or pierce the smoothness of the studium (art marked out by completeness, by total visibility). The punctum, by its wounding quality, would be a signifier pointing to something outside representation, outside the studium, and inasmuch as opera in the condition of postmodernism is likely to be a saturated medium, absorbed by viewers and listeners in conditions of distraction, the question arises, what punctum could it bear? There is, of course, nothing that could be isolated as such: it is, rather, that which by being outside representation appeals to what might be called–adapting Walter Benjamin's sense of photography as pointing to an ‘optical unconscious’ – an ‘aural unconscious’ just outside the text.
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Feichtinger, Daniela. "Wrestling with the Unspeakable." Interdisciplinary Journal for Religion and Transformation in Contemporary Society 6, no. 1 (July 2, 2020): 216–35. http://dx.doi.org/10.30965/23642807-00601013.

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Abstract The reader’s subjective experience cannot be easily integrated into an interpretation that claims a certain objectivity and adequacy to the text. For the exegesis of sacred texts, this means that something unspeakable remains, the encounter of which is traditionally described with the theological categories revelation and salvation. This raises the suspicion that by methodically excluding subjectiveness, at least part of the theological character of a text gets lost in interpretation. In order to exemplify the challenge subjectivity poses to scientific interpretation, especially within the framework of a religious community, this paper analyzes documents of the Catholic Church on the interpretation of the bible since 1965. In a next step, the categories of revelation and salvation are traced in Roland Barthes’ essay Camera Lucida (1980). His concepts shed light on the shortcomings of the documents and provide fresh impulses for a transformed understanding and appreciation of the reader’s experience.
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Dissertations / Theses on the topic "Barthes, Roland. Camera Lucida"

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Wilson, Harry Robert. "Affective intentionalities : practising performance with Roland Barthes's Camera Lucida." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30998/.

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This thesis forms the complementary writing for my practice-as-research project “Affective Intentionalities: Practising Performance with Roland Barthes’s Camera Lucida”. Working with Barthes’s 1980 book about photography, the project goes beyond an application of Barthes’s ideas to creatively respond to Camera Lucida through performance. The project approaches this through the following research questions: What strategies might be useful for responding to Camera Lucida through performance? What new insights does this contribute to theatre and performance studies? What methodological contributions does this project make to the ways that writing and performance can be thought together in a practice-as-research context? This thesis, provides a critical context for the project by reviewing writing on Barthes from media theory, comparative literature, art history and theatre studies; it critically reflects on three performances made over the course of the PhD project: Involuntary Memory (2015), Kairos (2016), and After Camera Lucida (2017); and it re-presents photographic documentation and audience comments in a way that self-reflexively stages them in relation to the practical work. This complementary writing gestures towards the ways that the performances explored different inflections of performance time, the ways that the live body captured a tension between semiotic meaning and materiality and the relationships between the form of the performances and their ability to produce affect. These findings contribute to the overarching argument that a process of iterative creative response to Camera Lucida has allowed an exploration of dramaturgies of the body, time, affect and theatricality that open up the possibility of critically affective and radically compassionate relations between performance works and their audiences. As such, this project will be of interest to theatre and performance researchers, scholars of Barthes, and performance practitioners who are interested in the relationships between affect and meaning, temporality, performance and photography, practice and theory.
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Counter, Annie. "Photography, text, and the limits of representation in Marcel Proust's 'In Search of Lost Time' and Roland Barthes's 'Camera Lucida'." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.18 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435857.

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Maree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.

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Much like a photograph, a casts creates a replica of its referent, thereby immobilising the subject in time. While the subject continues in time and hence ages and inevitably dies the replica does not. With this basic notion of fixing a subject, I have built an argument to contextualise my sculptures, which are made using casts of elderly people. In this discussion I have looked at my works through the ideas of different theorists. The main theorist I have cited is Roland Barthes, specifically with regards to his notion of the photograph as discussed in his book Camera Lucida. I have also referenced three particular artists: Rachel Whiteread, Diane Arbus and Churchill Madikida, as I have found each of their works relate to my work in various ways, creating a different reading from each viewpoint.
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Heppell, Chris. "Real spectres of Barthes : Camera Lucida as dark ecology." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230038.

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This thesis performs a deconstructive reading of Roland Barthes's text Camera Lucida (1980). It considers the text as a mesh of dark ecology after Timothy Morton. The first three chapters conduct a comparative analysis of the manifest content of the text in order to contest its inheritance and complicate the question of Barthes's realism, often erroneously conditioned as “naïve.” Chapters 1–3 approach Barthes's figure of the “vrai hallucination” by interrogating the influence of Jean-Paul Sartre (Chapter 1) and André Bazin (Chapter 3) on the text. Chapter 2 forms a bridge between Chapters 1 and 3 by considering how Bazin translates iterations inherited from Sartre. This thesis argues that Barthes is an irrealist when considered through the lens of Sartre and a surrealist when considered through the lens of Bazin. Barthes's attempt to distinguish his work from his predecessors fails: this thesis argues that charting this failure has ecological significance. The second part of the thesis moves into new territory, turning around the figure of Barthes's “Palinode” (Chapter 4) towards a post-deconstructive understanding of photography in relation to Barthes's Winter Garden photograph (Chapter 5). The conclusions from Chapters 1-3 are built upon with a focussed reading of the question of redemption of essence in the Winter Garden photograph. This thesis argues that Barthes fails to experience the essence of his mother in an unmediated way, instead involving her singularity in distributed networks of alterity. Rather than a deep ecology of restoration, a dark ecology of complicity is signalled by the text. The thesis is framed in terms of the text's relevance for thinking about the imminent ecological crisis we face, and the conclusion gestures towards the possibility of reading Camera Lucida progressively, and without the figure of Mother Nature.
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Books on the topic "Barthes, Roland. Camera Lucida"

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Oli, Joanne. We are family: An investigation of family photography and its new social value, which is the publicity of the private : Roland Camera Lucida 1981. London: LCP, 2001.

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Photography Degree Zero Reflections On Roland Barthess Camera Lucida. MIT Press (MA), 2011.

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Geoffrey, Batchen, ed. Photography degree zero: Reflections on Roland Barthes's Camera lucida. Cambridge, MA: MIT Press, 2009.

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Book chapters on the topic "Barthes, Roland. Camera Lucida"

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"Camera Lucida: the impossible text." In Roland Barthes, 133–40. Routledge, 2004. http://dx.doi.org/10.4324/9780203634424-17.

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"Roland Barthes, Camera Lucida." In Basic Critical Theory for Photographers, 91–127. Routledge, 2013. http://dx.doi.org/10.4324/9780080468389-11.

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"From Camera Lucida: Roland Barthes." In Theatre and Performance Design, 69–76. Routledge, 2012. http://dx.doi.org/10.4324/9780203124291-15.

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"Afterword." In Emotional Bodies, edited by Dolores Martín-Moruno and Beatriz Pichel, 263–66. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042898.003.0013.

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As a way of conclusion, the afterword comes back to Roland Barthes. His writings on photography and grief (Camera Lucida, 1993), and particularly his conception of the punctum as the element in the photograph that “pricks” you, illustrates how emotions do and undo the subject. Bringing together the main findings of the book, the afterword argues that the subject and its identity are, therefore, the result of the performative work of emotions. But this identity will be necessarily ephemeral, as it is only a particular configuration of a particular doing of emotions, which will be made and remade in each iteration.
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Burgin, Victor. "The Situation of Practice." In Seeing Degree Zero, 159–86. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474431415.003.0006.

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The Situation of Practice In Writing Degree Zero Roland Barthes addresses the dilemma of the writer who wishes to be free from the grip of bourgeois history as enshrined in language: the doxa of style. Thus at the end of that book, he invokes the image of the writer facing the blank page. The confrontation with the blank page is the degree zero of any art practice, the schematic centre of the situation of the practice. In everyday speech the word 'situation' is used in disparate senses: from the gallery space in which it is encountered to the geopolitical context of its production and reception. The issues explored apply to the material means specific to Burgin's own art practice - writing and camera images - and at other times concern 'art' in general.
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You might also be interested in the extended bibliographies on the topic 'Barthes, Roland. Camera Lucida' for particular source types:
Journal articles
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