Academic literature on the topic 'Roland Barthes (1915-1980)'
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Journal articles on the topic "Roland Barthes (1915-1980)"
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Bonadio, Maria Claudia. "Por que ler ... Roland Barthes?" dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 2, no. 2 (February 14, 2008): 20. http://dx.doi.org/10.26563/dobras.v2i2.368.
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Roland Barthes (1915-1980) foi sem dúvida um dos teóricos mais versáteis e perspicazes do século XX. Ao longo de sua carreira, produziu uma série de livros e ensaios que, em sua maioria, além de apresentarem idéias inovadoras sobre temas diversos, como fotografia, cinema ou literatura, também ficaram conhecidos em razão de sua prosa fluente e estilo agradável.
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Stafford, Andy. "Marking a Writer's Centenary … Backwards? The Case of Roland Barthes, 1915–1980." Forum for Modern Language Studies 51, no. 4 (October 2015): 480–94. http://dx.doi.org/10.1093/fmls/cqv051.
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Lopes, Edilaine Vieira, and Cleber Gibbon Ratto. "LEITURAS OUTRAS: UM ENSAIO PARA (RE)PENSAR A ESCRITA E A LEITURA À LUZ DE ROLAND BARTHES." Revista Conhecimento Online 1 (January 1, 2018): 27. http://dx.doi.org/10.25112/rco.v1i0.1321.
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RESUMOO presente texto apresenta-se como articulador das principais discussões desenvolvidas na dissertação de mestrado intitulada “Será tão difícil escrever? Ensaio entre a escrita e a escritura: contribuições de Roland Barthes à educação” (2011). Explora a problemática e a concepção de que a leitura, se for atrelada à escritura, pode ser uma potência, fruto de iniciação, uma aventura com generalidade simbólica ligada ao prazer. Ao modo de um ensaio teórico, divide-se em quatro partes: a) 1º gesto, a escrita; b) 2º gesto, a leitura; c) 3º gesto, o prazer envolvido; d) 4º gesto, leituras outras. Desenvolve a tese segundo os preceitos de Roland Barthes (1915/ 1980), com base no grau zero da escrita. Sustenta a importância da escola dar vez à fruição, ao devir e ao ócio criativo, em contrapartida aos exaustivos trabalhos sobre o desenvolvimento da escrita/leitura, que parecem ignorar a aparente ligação que há entre a leitura, a escritura e a vida, através de uma relação em que o escritor/leitor deixa de ter apenas autoria do texto, abrindo mão de ser o autor/usuário e passando a ser usado pela linguagem (em vez de apenas usá-la), de modo corajoso, considerando o outro que está necessariamente imbricado nos discursos que nos constituem diariamente.Palavras-chave: Leitura. Escrita. Cultura. Roland Barthes. ABSTRACTThe current text is presented as an articulator of the main discussions developed in the Master's thesis entitled “Is it so hard to write? Essay between writing and essay writing: contributions from Roland Barthes to Education” (2011). It explores the problematic and the conception that reading, if attached to writing, can be an output, fruit of initiation, an adventure with symbolic generality related to pleasure. In a theoretical essay mode, it’s divided into four parts: a) first gesture, the writing; b) 2nd gesture, the reading; c) 3rd gesture, the pleasure involved; d) 4th gesture, other readings. It develops the thesis according to the precepts of Roland Barthes (1915/1980), based on the degree of zero writing. It sustains the importance of the school to give time to fruition, to the future and creative idleness, in contrast to the exhaustive work on the development of reading/writing that seems to ignore the apparent link between reading, writing and life through a relationship in which the writer/reader doesn’t only have the authorship of the text giving up of being the author/user and starting to be used by the language (instead of just using it) bravely, considering the other that is necessarily interwoven in the speeches that form us daily.Keywords: Reading. Writing. Culture. Roland Barthes.
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Silva, Márcio Renato Pinheiro da. "História das formas e os tons da crítica: uma releitura de O grau zero da escrita, de Roland Barthes." Alea : Estudos Neolatinos 16, no. 2 (December 2014): 346–61. http://dx.doi.org/10.1590/s1517-106x2014000200007.
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Em princípio, pode-se dizer que O grau zero da escrita (1953), primeiro livro do ensaísta francês Roland Barthes (1915-1980), consiste em uma história da literatura moderna de meados do século XIX a meados do XX. Ocorre que, nesse processo, Barthes se vale de pouquíssimos dados relativos tanto à história geral quanto à história da literatura, tornando o livro, ainda hoje, de delicada compreensão. Este artigo pretende se dedicar aos possíveis sentidos dessas lacunas, vinculando-as à particularidade mesma da história visada por Barthes (uma história das formas literárias modernas). Em seguida, será realizada sua contraposição ao tom assumido pela escrita do ensaísta diante da história por ele mesmo narrada, na tentativa de identificar e de discutir suas possíveis ambivalências.
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Silva, Marcio Renato Pinheiro da. "Os impasses da escrita & o lugar da poesia: uma leitura de "o grau zero da escrita", de Roland Barthes." Remate de Males 34, no. 1 (April 30, 2014): 127. http://dx.doi.org/10.20396/remate.v34i1.8635836.
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Despite being usually known by his diversity of interests as well as of theoretical knowledges mobilized by his writing, the work of the French essayist Roland Barthes (1915-1980) keeps a constant which, unlike the aforementioned diversity, remains unexplored even today: the extremely tense and problematic relation with poetry. Tense and problematic because rare are the moments in which Barthes comes to poetry; when it does, he is extremely harsh with it (mainly on Writing Degree Zero). This paper aims to study this relation between Barthes and poetry based on the following hypothesis: these critics on poetry are explained and justified by what Barthes means by modernity (more precisely, such as originally conceived in Writing Degree Zero and resumed in some of his early Essays Critical). Thus, knowing what does the critic mean by modernity, as well as which are its demands, it will be possible analyze how modern poetry responds to them according to Barthes.
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Steiner, Henriette, and Kristin Veel. "Towering Invisibilities: A Cultural-Theoretical Reading of the Eiffel Tower and the One World Trade Center." Qualitative Inquiry 25, no. 4 (August 5, 2018): 407–16. http://dx.doi.org/10.1177/1077800418790297.
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This article explores forms of visuality in architecture in which symbolic and functional values interlink by considering two visually striking and deeply symbolic landmarks that tower over their respective cities at the same time as their impact is related to the invisible wireless communication they facilitate. It contrasts cultural-theoretical responses to the Eiffel Tower (1889) with readings of the One World Trade Center (2014). In this way, we contour a theoretical framework to grasp the compounded forms of signification these towers embody and address the latent and invisible signification at work by turning to the work of the French philosophers Roland Barthes (1915-1980) and Jean-Francois Lyotard (1924-1998).
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Marques, José Carlos. "O QUE É O ESPORTE? AS CONTRIBUIÇÕES SEMINAIS DE JOHAN HUIZINGA E ROGER CAILLOIS RESSIGNIFICADAS POR ROLAND BARTHES." Revista Criação & Crítica, spe (December 30, 2015): 4. http://dx.doi.org/10.11606/issn.1984-1124.v0ispep4-8.
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<p>Em 1961, o pensador francês Roland Barthes (1915-1980) publicou o texto “Le sport et les hommes”, a partir de uma encomenda do canadense Hubert Aquin, que realizava um documentário com o mesmo título. O artigo oferece uma análise semiológica sobre a tourada na Espanha (a qual o próprio Barthes não sabe se a inclui na categoria de esporte), o automobilismo nos Estados Unidos, o ciclismo na França, o hóquei no gelo no Canadá e o futebol na Inglaterra. Longe dos termos técnicos das ciências do esporte e do linguajar acadêmico canônico, Barthes procura analisar os significados e a importância que o esporte assumiu na sociedade de massas do século XX, buscando interpretações e correlações entre a prática esportiva e as necessidades vitais do homem na contemporaneidade. Nossas reflexões procuram contrapor a contribuição barthesiana às obras seminais de dois outros autores europeus que, anos antes, propuseram uma leitura original sobre o esporte: são os casos de Johan Huizinga e o livro <em>Homo Ludens</em> (1938), e de Roger Caillois e <em>Os Jogos e os Homens</em> (1957).</p>
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Nunes, Mateus Carvalho. "ENTRE SOBREVIVÊNCIAS E DESLOCAMENTOS: A IMAGEM E O FANTASMA EM ABY WARBURG." ARTis ON, no. 9 (December 26, 2019): 86–96. http://dx.doi.org/10.37935/aion.v0i9.241.
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Investigam-se, neste trabalho, as contribuições do historiador da arte, da cultura e teórico da imagem alemão Aby Warburg (1866-1929), entendendo a obra warburguiana como uma autobiografi a, a partir da perspetiva do conceito de “biografema” do fi lósofo francês Roland Barthes (1915-1980). Pretende-se discutir as contribuições de Warburg para o campo da História da Arte a partir da análise das imagens e de seus deslocamentos sintomáticos no campo da representação simbólica, principalmente sobre o conceito de sobrevivência. Investigam-se as operações imagéticas e historiográfi cas transdisciplinares e trans-históricas de Aby Warburg, abordando a complexidade dos objetos artísticos e de suas temporalidades, além de suas potencialidades para novas metodologias na História da Arte.
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Pinheiro, Samuel Delgado. "DO VAZIO DE UM SATORI: A TÉCNICA DO HAICAI NOS POEMAS NIRVANA DE ADRIANA LISBOA E ANIMAL DE INVIERNO DE JOSÉ WATANABE." Estudos Japoneses, no. 41 (June 13, 2019): 41–59. http://dx.doi.org/10.11606/issn.2447-7125.v0i41p41-59.
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presente trabalho pretende discutir acerca das técnicas do haicai nos poemas Nirvana de Adriana Lisboa e Animal de Invierno do poeta peruano José Watanabe, ambos possuem uma construção estética do vazio, através da presença de técnicas do haicai e de conceitos budistas que demonstram uma incorporação do olhar contemplativo perante a realidade. Neste sentido, a técnica do karumi (かるみ) utilizado por Bashō Matsuo (1644 – 1694) serve, em ambos os poemas, para um diálogo entre corpo, leveza e vazio. Para uma reflexão teórica sobre a significação na linguagem poética, serão utilizados autores como Roland Barthes (1915 – 1980), Nishitani Keiji (1900 – 1990), Shirane Haruo (1950), Italo Calvino (1923 – 1985), Mutlu Konuk Blasing (1944) cujas obras são importantes para explorarmos diversos aspectos do diálogo entre leveza, peso e vazio na linguagem.
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Baradaran Jamili, Leila, and Razie Arshadi. "Semiology of Culture in James Joyce’s A Portrait of the Artist as a Young Man." Advances in Language and Literary Studies 9, no. 4 (August 31, 2018): 51. http://dx.doi.org/10.7575/aiac.alls.v.9n.4p.51.
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This study sheds new light on the role of city whether real or fictional in modern novel as one of the signs of man’s cultural fate. For the same reason, city is not a mere physical place, but a spatial concept. Not only has city become inseparable from man’s personal and national destiny but also one’s life continues to unfold on city’s streets. James Joyce’s (1882-1941) A Portrait of the Artist as a Young Man (A Portrait, 2000) deals with Joyce’s home, Dublin. Joyce aims to universalize and simultaneously eternalize his home through his art. Accordingly, the reader of his text is to decipher the cultural signs of Dublin to get into it. As Michael Ryan (1946-) refers to culture as the total way of life that it has multiple meanings; to understand the culture of a city, to read its meaning, one has to decipher it. Semiology, based on Roland Barthes (1915-1980), is the science of signs whose emphasis is on the interpretation of codes, signs and symbols in a particular culture. Thus, the culture of Dubliners portrayed in A Portrait can be decoded through semiology by the readers. Stephen Dedalus is one who deciphers the cultural signs such as paralysis, religion, prostitution and confession through his walking in Dublin. He considers them as nets of Dublin that he tries to escape from them.
Dissertations / Theses on the topic "Roland Barthes (1915-1980)"
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Endo, Fumihiko. "La pensée éthique de Roland Barthes." Paris 7, 1993. http://www.theses.fr/1993PA070119.
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Cette these a pour but d'etudier la pensee ethique de roland barthes. Elle vise a mettre en evidence la recherche par barthos de la morale de la pratique signifiante ou de l'activite symbolique. Elle se propose d'abord (dans la premiere partie) de decrire la dialectique entre la critique ideologique et la semiologie chez barthes, en analysant la naissance d'un projet semiocritique (chapitre 1), son developpement a l'epoque structuraliste (chapitre 2) et sa mutation provoquee par l'introduction de la notion de "texte" (chapitre 3). La franchise du signe, la suspension de la signification et l'exemption du sens seront etudiees comme pratiques ethiquement positives. Ensuite (dans la deuxieme partie), nous abordons le probleme de la discursivite chez barthes et etudions sa recherche d'une nouvelle discursivite affirmative. L'arrogance et l'indifference seront alors decrites comme valeurs negatives inherentes aux meta-discours scientifique et critique existents. La notion de "plaisir" sera analysee du point de vue semantique (chapitre 4). Puis, une analyse de deux discours imaginaires (autobiographique et amoureux) tenus par barthes sera proposee (chapitre 5). Enfin, le dernier chapitre (chapitre 6) sera consacre a une etude systematique de la recherche photographique de barthesThe aim of this thesis is to study the ethical thought of roland barthes. It tries to demonstrate the research of barthes for a moral of semiotic practice or of symbolic activities. Its first part is a description of the dialectic relation between ideological criticism and semiotics in barthes' works. We will study the birth of an semiocritical project (chapter 1). Its development in the structuralist phase (chapter 2) and its transmutation caused by introduction of the notion of "text" (chapter 3). Frankness of sign, suspension of signification and exemption of meaning will be postulated as positive values. The second part treats of the problem of "discursivity" in barthes and studies his research for a new affirmative discursivity. "arrogance" and "indifference" will be described as negative values inherent in existing scientific and critical metadiscourses. The notion of "pleasure" will be analysed from a semantical point of view (chapter 4). Then, an analysis of the two discourses of imaginary composed by barthes will be proposed (chapter 5). The last chapter (chapter 6) will be a study of the research of barthes on photography
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Taouk, Louisa. "L'intertextualité chez Roland Barthes : fragmentations et spirale." Paris 7, 1991. http://www.theses.fr/1991PA070102.
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Le texte de Roland Barthes est un espace constamment traversé par l'autre : le lecteur qui pose le problème de l'intersubjectivité et de la coalescence de l'image ; l'auteur qui détourne les règles de l'autorité scientifique pour instaurer une critique affectueuse ; la réalité comme fiction qui se réintroduit dans le texte (littéraire, iconique, musical) au moyen du détail. Cette relation à l'altérité débouche sur une éthique : l'ironie. La signifiance prend en considération le corps du sujet dans le processus du sens. L'histoire devient une construction intertextuelle : entre les déplacements et les retours, elle articule la fragmentation avec l'omniprésence du sens. Ni évolution ni synthèse, la spirale constitue l'image de l'écriture critiqueRoland Barthes' text is a space constantly traversed by the other: by the reader, who raises the problem of intersubjectivity and the coalescence of the image; by the author, who subvertes the rules of scientific authority in order to install an affective criticism; and by reality now understood as fiction, which returns to the text (literary, iconic, musical) via the detail. This relationship with the other leads to an ethics, namely irony. Furthermore, "significance" takes into account the presence of the subject's body in the process of meaning. History becomes an intertextual construction -between mouvement and return- it articulates fragmentation with the omnipresence of meaning. Neither evolution nor synthesis, the spiral becomes the image of critical writing
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Uzzo, Alain. "Roland Barthes : la "Vie Nouvelle"." Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10061.
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A la mort de barthes, les commentateurs ont salue son activite de critique et de theoricien de la litterature ; plus recemment, ils ont consacre ses qualites d'ecrivain et de moraliste. Mais ils ont oublie de reconnaitre une chose capitale : son imagination utopique. Lorsque barthes exerce une activite critique sur certaines notions, c'est toujours a travers l'image interieure d'une utopie : d'une utopie sociale ou d'une utopie affective. Ce travail a pour ambition de capter dans ses textes ecrits entre 1942 et 1980 des eclairs de desir, des possibles exaltants, des elements annonciateurs d'inoui : il se presente comme le releve scrupuleux de toutes les images de bonheur inventees en quarante ans d'ecriture par l'auteur des mythologies au detour d'un article, d'une dissertation ou pendantun entretien. En totalisant ces images, on obtient un etat ideal de la societe, une intelligence parfaite des rapports humains, une trame ininterrompue de fetes, bref une vita nova. L'utopie est le tabou de la revolution et de la politique que l'ecrivain a pour charge de transgresser. Vita nova repond ainsi a la question pratique du << comment vivre ensemble >>. Elle imagine des hypotheses de vie et reflechit sur toutes les formes possibles de la relation du << je >> et de l'autre : cette pensee problematique des regles de vie et d'interlocution donne alors naissance a une ethique de la relation affective a laquelle barthes se pliait.
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Bahnasli, Ahmad. "Le jeu de la lecture chez Roland Barthes." Reims, 1993. http://www.theses.fr/1993REIML004.
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De nos jours, la question de la lecture dans les études littéraires prend le devant de la scène culturelle. Etudier cette question chez Roland Barthes va dans ce sens; car, comme l'écriture, la lecture fait une partie considérable de son activité. Cependant, Barthes, concernant cette problématique, n'a jamais au recours au geste méthodologique de la clôture. D'ailleurs, sa démarche a été soumise a un perpétuel jeu de déplacement; l'auteur se méfie toujours de ce qui est fige dans le prétendu naturel. A travers une activité de recherches permanente, le critique vise constamment le même objectif: décoder, recoder, lire. Son œuvre dévoile clairement la succession des débats théoriques de notre temps: nouvelle critique, nouveau roman, structuralisme, sémiologie, sans oublier le plaisir. La lecture est ainsi une subversion continue du langage. Barthes est un lecteur double, parce qu'il lit pour les autres et sait lire pour son propre compte. Pour lui, lire signifie déchiffrer, démystifier, bref, entrer dans le pluriel infini d'un texte. C'est aussi une pratique hautement amoureuse. Barthes espérait une "science de la lecture". Nous voulons donc étudier l'évolution chronologique et systématique de la notion de lecture a travers l'œuvre de BarthesNowadays, the question of the reading in the literary studies takes the first place of the cultural scene. Studing this question in the works of barthes goes in this way. Because, like the writing, the reading makes a considerable part of his activity. However, barthes, concerning this problem, has never recoursed to the methodological gesture of the closing. Moreover, his apprach have been put through a perpetual playing of transfer; the author always mistrust about everything which is static in the so-called natural. Through a permanent activity of research, the critic constantly aims the same object: decoding, coding and reading. His works reveal the succession of the theorical debates of our time new criticism, new novel, structuralism, semiology, without forgeting pleasure. That way, reading is a continuous subversion of language. Barthes is a double reader, because he reads for the others and he can read for himself. For him, reading means also to decode, demystify, in short, to enter into the infinite plural of a text. This is also a highly amorous practice. Barthes was hoping for a "science of the reading". We want to study the chronological and systematic evolution of the notion of the reading through barthes'works
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Asllani, Persida. "Roland Barthes : l'écriture de la théorie." Paris 7, 2005. http://www.theses.fr/2005PA070059.
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Cette thèse, Roland Barthes - l'écriture de la théorie, vise à mettre en évidence la naissance et l'emploi de notions opératoires dans l'ensemble de l'œuvre. Cette émergence des notions - avec leur caractère à la fois littéraire, philosophique, musical, utopique - est au carrefour de la fiction et de la théorie. La structure de la thèse suit continûment la présence, l'évolution et la persistance des notions-clés sur lesquelles s'appuie l'écriture de la théorie chez Barthes : la Tragédie (dès son tout premier article), l'Utopie, la Clarté, la Musique. Leur mise en jeu présente ainsi des tableaux singuliers du processus d'écriture fondés sur le possible et l'impossible. L'anthologie qui suit, inédite, préfacée et classée, enregistre les 1920 questions posées par Roland Barthes dans son œuvre, de 1942 à sa mort (1980). Cette interrogation (ce questionnement) conduit d'un bout à l'autre, l'écriture de la théorie"Roland Barthes - Writing the Theory", is a research about writing ("écriture") of literacy theory, to put in evidence the process of coming up and of operative notions in Roland Barthes's entire work. As on the same time literary notions, philosophie, musical and utopist notions, they stay on crossbreeding between fiction and theory. The Thesis structure follows évolution and persistance of key-notions : writing of Tragedy (first of ail), Death, Utopia, Clarity, Music, presents some peculiar views of writing process, imagined as a kind of possible and impossible process. Prefaced and never-published anthology of the 1920 questions proposed by Barthes, from 1942 until his death (1980), completes the thesis (Vol. II)
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Weng, Chen-Sheng. "Roland Barthes et la psychanalyse." Nice, 2003. http://www.theses.fr/2003NICE2012.
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L'oeuvre de Roland Barthes entretien, avec la psychanalyse, un rapport à la fois étroit et ambivalent, qui a souvent été négligé, du moins sous-estimé. L'importance de la psychanalyse est d'abord intertextuelle, perceptible dans les citations, le vocabulaire, les références théoriques et les figures rhétoriques. Plus profond encore sont les analogies structurales entre la littérature et la psychanalyse dégagées par Barthes concernant la pathologie, le fragment, la dichotomie et le récit. C'est surtout en tressant la psychanalyse aux autres systèmes de pensée (marxisme, linguistique, phénoménologie. . . ) qu'il se l'approprie, au point que ses écrits autobiographiques en viennent à ressembler à l'autoanalyseThe works of Roland Barthes maintain an intimate and ambivalent relation with the psychoanalysis ; however, this aspects is often underestimated, if not neglected, par his critics. The importance of psychoanalysis is above all intertectual. It can be perceived in the citations, the vocabulary, the theoretical references and the figures of speech. More profoundly, there exists structural analogies between literature et psychoanalysis in Barthes's discourse, especially concerning pathology, fragment, dichotomy and narration. In Blending the psychoanalysis with other disciplines, Barthes succeeds in forging his own thinking. Finally, his autobiographical writings also contain psychoanalytical elements which make them close to Freud's self-analysis
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Vaz, de Barros Stéphane. "Roland Barthes et l'action des langages." Paris 8, 2008. http://octaviana.fr/document/13651636X#?c=0&m=0&s=0&cv=0.
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Nous avons tenté de montrer dans cette thèse que l'objectif de la sémiologie barthienne est de suggérer l'inanité du sens, et en sous-main celle de l'Histoire que Barthes a moins ignorée par rigueur méthodologique que par hostilité principielle au discours historique. Estimant que les hommes produisent du sens à partir de rien, par exemple d'une opposition sémantique, il a mis l'accent sur l'aspect arbitraire et mécanique (donc dérisoire) du procès du sens. On a supposé que l' "angoisse politique" est à l'origine de cette quête de la vacuité, qu'elle a pu dicter aussi bien l'idée de mobiliser l'action de l'écriture contre celle des langages théoriques, que le parti de refuser l'esthétique de la transparence, soupçonnée d'avoir collaboré à la destruction de l'"ordre de l’Antithèse"We tried to show that the purpose of the barthian semiotics is to suggest the inanity of sense, and indirectly the inanity of the History which is ignored less by methodological strictness than by hostility against historical speech. Thinking that men produce sense from nothing, for instance from a semantic opposition, he put down quite clearly the arbitrary and mechanical aspect (therefore miserable) of the process of sense. We assume that "political anxiety" is at the origin of this search of vacuity, of this quest of emptiness, that it could dictate as well the idea of mobilizing the action of the Scripture against the theoretical languages than the theoretical perspective, the refusal of the aesthetics of transparency, suspected of having collaborated with the destruction of the "order of Antithesis"
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Farqzaid, Bouchta. "Forme et signification de l'image chez Roland Barthes." Paris 3, 2007. http://www.theses.fr/2007PA030026.
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L’image, Roland Barthes y a consacré de nombreux articles (Essais, Mythologies, L’Empire des signes, L’Obvie et l’obtus), des entretiens (Grains de la voix) voire un ouvrage en entier (La Chambre claire). Aussi, notre modeste essai doit avoir l’avantage de rassembler toutes ces réflexions barthésiènnes en vue d’en éclairer le contexte, l’approche et l’apport. Peinture, publicité, photographie, cinéma, théâtre, poésie, calligraphie, cuisine y sont les grands axesThe picture, Roland Barthes dedicated many articles there (Tests, mythologies, Empire of the signs, He prevents and the obtuse), of the interviews (Grains of the voice) or even a work in whole (The clear Room). Also, our modest test must have the advantage to gather all this reflections of the Barthes in order to illuminate the context, the approach and the contribution of it. Painting, advertisement, photograph, movies, theater, poetry, calligraphy, kitchen is there the big axes
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Petetin, Véronique. "Figures du sujet dans l'oeuvre de Roland Barthes : dérives, bonheur, anagramme." Bordeaux 3, 1988. http://www.theses.fr/1988BOR30003.
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Analyse synchronique, diachronique et lexicographique de l'emergence du concept du sujet de l'ecriture au travers des notions de sujet thematique, grammatical, linguistique et psychanalitique. Typologie des differentes figures du sujet relevees dans l'ensemble de l'oeuvre barthesienne. Analyse des occurences du terme, frequence, contexte, signification, et derivation semantique et ludique des signifiants vers un fondement nouveau du sujet de l'ecriture. Mise en valeur de l'apport specifique de l'ecriture barthesienne et de ses bonheurs dans la recherche moderne d'une nomination du sujet-ecrivant, et proposition a cet effet d'un neologisme : le "sujeme"Synchronic, diachronic and lexicographic analysis of the birth of the very idea of the subject in writing, highlighted by the notions of a thematical, grammatical, linguistic and psychoanalystic subject. Typology of the many aspects of the subject as quoted from the overall of roland barthes's work; how the word occurs, how frequently, in which contexts and what it means; how such meanings derive, through semantics and recreations, to a new endowment of the subject in writing. Focusing upon the particular contribution of roland barthes's writing, together with its enjoyments, as felt in the today's quest for the name of the subject who writes, and thus suggesting a neologisme : the "sujeme"
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Sun, Qian. "Roland Barthes, lecteur du XIXe siècle : Michelet, Balzac et Flaubert." Paris 8, 2014. http://octaviana.fr/document/182423298#?c=0&m=0&s=0&cv=0.
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Bien qu’il soit critique littéraire et sémiologue avant-gardiste des années 1950 aux années 1970, Roland Barthes nourrit pourtant une grande passion pour la littérature classique du XIXe siècle. En se déclarant « être à l’arrière-garde de l’avant-garde », Barthes a consacré de nombreux articles et livres aux écrivains de l’époque, parmi lesquels Michelet, Balzac et Flaubert tiennent respectivement une place considérable dans la carrière critique de Barthes. La lecture barthésienne de ces trois écrivains s’inscrit dans un parcours historique de sa problématique théorique. A travers sa lecture innovatrice des trois écrivains du XIXe siècle, en leur donnant des profils renouvelés, Barthes forge une critique d’avant-garde qui en fait un des plus grands lecteurs de notre époqueAs the famous French literary theorist, semiologist and leader of the new criticism in the last century 50’s to 70’s, Roland Barthes had a great passion for the classical literature of the 19th century. Barthes who was an influential voice for the “New Novel” claimed to be “the rear guard of the front guard”, and had done in-depth research on many French writers of the nineteenth century, especially Michelet, Balzac and Flaubert, each of whom has his own characteristics in his writings and plays a crucial role in different evolutionary stages of his thoughts. It is in the reading of the classics of the 19th century that Barthes consolidated the unshakable status as a well-known pioneering literary critic of the 20th century
Books on the topic "Roland Barthes (1915-1980)"
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A, Miller D. Bringing out Roland Barthes. Berkeley: University of California Press, 1992.
Find full textBook chapters on the topic "Roland Barthes (1915-1980)"
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Engelhardt, Anina. "Roland Barthes (1915 – 1980)." In Klassiker der Soziologie der Künste, 523–43. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-01455-1_23.
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Toolan, M. "Barthes, Roland (1915–1980)." In Encyclopedia of Language & Linguistics, 689. Elsevier, 2006. http://dx.doi.org/10.1016/b0-08-044854-2/02437-8.
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"BARTHES, ROLAND (1915–1980)." In Cultural Theory: The Key Thinkers, 16–18. Routledge, 2005. http://dx.doi.org/10.4324/9780203996423-7.
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