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1
Coste, Claude. "Roland Barthes moraliste /." Villeneuve d'Ascq, France : Presses universitaires du Septentrion, 1998. http://www.uqtr.ca/biblio/notice/tablemat/03-2233516TM.html.
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Geck, Martin. "Roland Barthes: »Rasch«." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71887.
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Rafik, Fatima. "L'esthetique de roland barthes." Paris 8, 1987. http://www.theses.fr/1987PA080188.
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D'un bout a l'autre de son oeuvre, barthes privilegie la pratique d'une grande tolerance critique a l'egard des productions litteraires et artistiques. C'est a partir de la que s'elabore sa conception pluridimentionnelle de l'esthetique qu'il applique, avec une egale souplesse, a l'ecriture, au theatre, a la critique litteraire et a la peinture. Pour lui, l'esthetique de toute oeuvre produite gagne a approcher celle-ci dans une coherence formelle qui l'eloigne aussi bien des recours reducteurs a des elements biographiques de l'auteur que des obediences rigides a des theories prefabriquees. Il s'agit donc, dans un tel contexte, de liberer l'oeuvre de toutes ces menaces afin qu'elle livre ses richesses intrinseques. La critique esthetique signale les richesses semantiques plurielles de l'oeuvre beaucoup plus qu'elle ne les "decouvre". Les richesses de l'oeuvre lui sont inherentes et c'est a travers un veritable voyage amoureux en elle qu'elle peut consentir a en reveler quelques elements. C'est pour cela, rappelle barthes, que la critique, tant litteraire qu'esthetique, consiste essentiellement a "couvrir l'oeuvre de son propre langage", a "tisser une couronne de langage" autour d'elle. Or, d'apres lui, un tel travail d'approche, s'il vient forcement apres les oeuvres produites, est deja contenu et suppose par elles. L'esthetique barthesienne suppose donc, a tout moment, une "ergographie", c'est-a-dire l'ecoute des differents travaux sur le sens qu'opere les oeuvres litteraires et artistiques chacune a sa maniere propre. C'est pour cela que d'un bout a l'autre de ses ecrits, barthes privilegie sans hesitation, en matiere de critique, la notion de validite a celle, plus pompeuse, de veriteThroughout his work, barthes favors the practice of a great critical tolerance toward literary and artistic outputs. It is at this point that his multi-dimensional conception of aesthetic, which he applies with an equal suppleness to writing, to reading, to the theater, to painting, and to literary criticism, is worked out. For him, the aesthetics of every produced work gains in approaching this one in a formal coherence wich removes it from remedies that reduce to biographical elements of the author as well as from rigid obediences to prefabricated theories. In such a context, the question is then to set the work free from all these threats so that it can give up its intrinsic wealth. Aesthetical criticism points out the plural semantic riches of the work more than it "lays them bare". The riches of the work are inherent in it, ant it is through a loving and genuine journey in it that it can agree to reveal some of its elements. It is for this reason, barthes reminds us, that literary as well as aesthetical criticism concerns itself mainly with "covering the work with its oun language" and "weaving a croun of language" around it. Now according to him, such an approach, if it comes necessarily after the produced works, is abready guessed and contained by them. Barthesian aesthetics then supposes, at every moment, an "ergography", i. E. The listening of different works on the meaning that each literary and artistic production performs in its oun way. This is the reason why barthes, throughout his writing, prefers without hesitation, in criticism, the notion of validity to that, more pompous, of truth
4
Kuwada, Kohei. "La "moralité" de Roland Barthes." Paris 4, 2009. http://www.theses.fr/2009PA040094.
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La difficulté d'écrire sur Roland Barthes (1915-1980) s'explique certainement par la pluralité essentielle qui caractérise l'auteur et par la spécificité d'une pensée et d'une écriture qui contestent la réduction de le pluralité à la généralité. Cette étude a pour but de retrouver une sorte d'unité à travers le parcours intellectuel de Roland Barthes tout en respectant, autant que possible, cette pluralité essentielle qui le caractérise. La notion de "moralité", qui apparaît dans "Roland Barthes par Roland Barthes" est le fil conducteur que nous avons choisi pour mener à bien ce travail. Barthes considère que ses dernières œuvres relèvent de la "moralité" mais il éprouve une certaine difficulté à définir cette notion. Qu'est-ce que Barthes entend par "moralité", notion qui doit être, selon lui, comprise comme étant le contraire de la "morale" ? Et comment cette notion est-elle conçue à travers les différentes étapes du développement de la pensée et de l'écriture de Barthes ? En abordant ces questions, le présent travail s'attache à mettre en évidence le caractère paradoxal de cette notion qui détermine l'écriture à la fois éthique et esthétique de BarthesThe essential plurality of Roland Barthes (1915-1980) and the specific nature of his thought and his writtings, characterized by relentless rejection of the reduction of plurality to the general, make it especially difficult to write about him and his work. This study aims at discerning some unity in his intellectual path, without artificially concealing such a fundamental plurality. Appearing for the first time in Roland Barthes notion of "morality" can be considered a central notion of the author's work, providing a vantage point to better understand his intellectual development. Barthes considered his late works as belonging to morality but he struggled to define this notion clearly. What exactly does Barthes mean by "morality" - a notion that, according to him, is to be understood as the opposite of "morals" ? And how is the notion conceptualized throughout the various phase of the evolution of Barthes thought and writings ? In tackling this issue, this work attempts to emphasize the paradoxical aspect of this notion - a notion of paramount importance in determining both the ethical and aesthetic character of Barthes' writings
5
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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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.
7
Bale, Rebekah Ruth. "Tracing the novelistic in Roland Barthes." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021533.
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Pommier, René. "Le "Sur Racine" de Roland Barthes /." Paris : Eurédit, 2008. http://catalogue.bnf.fr/ark:/12148/cb414062380.
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Teskey, John Francis. "L'énonciation scripturale, l'exemple de Roland Barthes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq41580.pdf.
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Fong, Chung-yan, and 鄺頌欣. "Melancholia and autobiography in Roland Barthes." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31951259.
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Brown, Andrew Stephen. "Roland Barthes : the figures of writing." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292859.
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Brandini, Laura Taddei. "Imagens de Roland Barthes no Brasil." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-13022014-102229/.
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Roland Barthes nunca colocou os pés em território brasileiro. O que não quer dizer que ele nunca tenha estado no Brasil: seus escritos, carregados com suas ideias, suas noções, seus paradoxos e suas idas e vindas, trataram de assegurar sua presença na história da crítica literária brasileira do século XX. As relações entre Barthes e os intelectuais constituem o tema deste trabalho, que tem por objetivo encontrar, descrever e problematizar as imagens do escritor francês, produtos de sua recepção no Brasil, de 1953, data da publicação do primeiro livro de Barthes, Le Degré zéro de lécriture, até o momento atual. Efeitos de um processo de refração, tais imagens não se limitam a reproduzir a dinâmica do pensamento barthesiano, mas também evidenciam as particularidades do contexto e dos intelectuais que delas se apropriaram. Pois a periodização estudada compreende um momento de transição na história da crítica brasileira que a recepção à obra do escritor torna evidente: a consolidação das instituições universitárias, nos anos 50 e 60, abriu um novo espaço para os debates literários, antes limitados aos jornais. A crítica literária e as discussões teóricas, até esse momento, dominadas por críticos de formação autodidata, passaram a, paulatinamente, constituir uma preocupação dos professores universitários. A proposta deste trabalho é examinar como o pensamento de Barthes foi integrado nesse contexto, tendo como fio condutor e corpus principal o jornal O Estado de S. Paulo, complementado pela revista universitária Língua e Literatura. Tendo sido primeiro comentado pela crítica jornalística para, em seguida, tornar-se objeto de uma crítica universitária, o pensamento barthesiano transparece sob a forma de imagens parciais que, ao final do percurso investigatório, compõem um mosaico heterogêneo e complexo. Incompreendido, mestre estruturalista da nouvelle critique, semiólogo e guru nas universidades, hedonista, subversivo: em cada imagem pulsa uma faceta de Barthes, num movimento constante, engendrando novas leituras e a escrita de novos textos, e assim circulando, viva.Roland Barthes never placed his feet on Brazilian territory. Which is not to say that he has never been in Brazil: his writings, full of his ideas, his concepts, his paradoxes and his comings and goings, treated to ensure his presence in the history of Brazilian literary criticism of the twentieth century. The relations between Barthes and intellectuals are the subject of this work, which aims to find, describe and discuss the images of the French writer, products of his reception in Brazil, from 1953, the publication date of Barthes first book, Le Degré zéro de l\'écriture, until the present time. Effects of a refraction process, such images do not merely reproduce the dynamics of Barthesian thought, but also highlight the particularities of the context and intellectuals who have appropriated of them. As the periodization studied comprises a transition moment in the history of Brazilian criticism that the reception to the work of the writer becomes evident: the consolidation of the university institutions in the 50s and 60s opened a new space for literary debates, once limited to newspapers. Literary criticism and theoretical discussions, so far dominated by self-taught critical, began, gradually, a concern of academics. The proposition of this thesis is to examine how Barthes thoughts were integrated in this context, having as a guiding thread, and the main corpus, the newspaper O Estado de São Paulo, complemented by the university journal Língua e Literatura. Having first been discussed by the journalistic critics and later becoming a subject of academic criticism, Barthesian thought emerges in the form of partial images that, at the end of the investigative path, composes a heterogeneous and complex mosaic. Misunderstood, struturalist master of nouvelle critique, semiotician and guru in universities, hedonistic, subversive: in each image pulsates a facet of Barthes in a steady movement, engendering new readings and the writing of new texts, and thus circulating, alive.
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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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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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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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Barbe, Norbert-Bertrand. "Roland Barthes et la théorie esthétique." Orléans, 1996. http://www.theses.fr/1996ORLE1014.
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On opérera une analyse critique de l'esthétique barthésienne, d'une part historique par l'étude de ses origines philosophiques (Platon, Aristote, Longin, Hegel), et d'autre part "structurale" au travers de l'étude rapprochée d'un extrait de l'"introduction à l'analyse structurale des récits", afin de mettre en évidence les contradictions internes à une telle esthétique basée sur la dévalorisation de l'art, considère comme "corporel" et non intellectuel, et sur une opposition sémantique et psychanalytique d'origine mystique entre le "rien que "involutif de l'art (Freud, Jung, Adorno, Barthes) et le "tout" sémantique du récit, entre les artes mechanicas (l' ut pictura poiesis")et le "dieu du texte" (Barthes). On proposera comme alternative à cette conception réductrice l'analyse historique et intellectuelle de la "Kunstwissenschaft", notamment au travers des écrits de son plus célèbre représentant, Erwin PanofskyWe'll make a critical analysis of the aesthetics of Barthes, on the one hand historic by the study of its philosophical origins (Platon, Aristote, Longin, Hegel), and on the other hand "structural" by a comparative study of an excerpt of the "introduction a l'analyse structurale des récits", in order to display the internal contradictions of this aesthetics, based on the discrediting of art, considered like "corporeal" and no intellectual, and based too on an semantic and psychoanalytic opposition - which originate from mystic tradition -between the involutive "nothing but" of art (Freud, Jung, Adorno, Barthes) and the semantic "all" of the narration, between the artes mechanicas (the "ut pictura poiesis") and the "god of the text" (Barthes). Finally we'll hold up the historic and intellectual analysis of the "kunstwissenschaft", notably owing to the works of its most famous menber, Erwin Panofsky, as an alternative of this reducing conception
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Vaz, de Barros Stéphane Samoyault Tiphaine. "Roland Barthes et l'action des langages." Saint-Denis : Université de Paris 8, 2009. http://www.bu.univ-paris8.fr/web/collections/theses/VazdeBarrosThese.pdf.
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Fong, Chung-yan. "Melancholia and autobiography in Roland Barthes." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18685523.
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Macleod, Sheila Jean. "Three french writer-photographers after Roland Barthes." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411256.
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Fallah, Nejad Mohammad Reza. "Roland Barthes et la critique de Proust." Paris 4, 2006. http://www.theses.fr/2006PA040072.
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Cette étude a pour objectif d'examiner les bases d'une " nouvelle littérature " barthésienne s'inspirant la Recherche. Dans une première partie, nous remonterons aux sources picturales et musicales du chef-d'œuvre et nous observerons que, leurs transpositions dans le texte engendrent un nouvel univers artistique. Dans une deuxième partie, nous étudierons les écritures romanesques proustienne et barthésienne. Nous verrons que, Roland Barthes définit la Recherche comme une tierce-forme entre l'essai et le roman, manifestant son désir d'écrire. Barthes considère la littérature comme une révolution permanente du langage. Il veut créer un " nouveau roman " simple, filial et désirable ressuscitant la langue françaiseIn this study, we examine the bases of a “ new ” barthesian literature inspired by the Recherche. In the first part of the study, by looking at the Proust's masterpiece, we try to find out the art works, paintings and the musical pieces which have been used to produce a new artistic world. In the second part, we review the fictional aspects of Proust and Barhes's writings. We see how Roland Barthes defines the Recherche as a third-form of writing between the essay and the novel, reaveling the desire behind the Proust writing. Barthes considered the literature as a constant revolution in language. He wanted to create a “ new ” sort of novel, simple, filial and desirble which resurrects the french language
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Paillé, Willy. "L' exercice de l'intime d'après Roland Barthes." Bordeaux 3, 2011. http://www.theses.fr/2011BOR30017.
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L’Intime, c’est la figure à laquelle la pensée de Barthes s’exerce. « Notre enquête la plus intime ne va pas à l’issue des choses mais à leur pourquoi », dit-il au début de son oeuvre. Et à la fin : « C’est l’intime qui veut parler en moi, faire entendre son cri, face à la généralité, à la science. » Dans son discours critique, Barthes n’a-t-il pas alors laissé s’échapper une poétique de l’Intime ? Nous tentons d’abord de cerner l’illusion de l’Intime en général. Un certain service public (dont le discours a la forme, selon J. Kristeva, de la « vertueuse exaspération » de la Critique devant la « naïveté sentimentale ») veut le neutraliser dans l’évidence de la vie privée. Nous devons alors réaffirmer son Cri et sa Parole possibles, en montrant comment Barthes, lui, s’y est pris. D’où ces lignes d’attaque : le Style ou force de l’Intime, ses représentations dans l’oubli scandaleux du sujet — après Barthes, loin de lui ; le Journal dans lequel ce scandale résonne le mieux — d’après Barthes : selon le rythme de ce genre lui permettant de repenser l’Essai ; l’Écriture même de l’Intime ou graphie, irréductible à l’identité, mesurable à la donne de thèmes (Voix, Ego, Résistance) transformant, dans l’instance et les circonstances de la vie, l’oeuvre en « oeuvre-vie » ; et le Rien du discours auquel cette écriture s’articule, ce que Barthes en esquisse avec la lecture et n’en esquive pas moinsThe Intimate is the image that Barthes’ tought works on. “Our most intimate quest doesn’t go at the end of matters but at its whys”, he says at the beginning of his work. And at the end: “The intimate wants to speak within me, to make its call at the face of generality, of science. ” In his critical speech, we wonder if Barthes hasn’t set free a poetics of the Intimate. First we shall attempt to define the illusion carried by the Intimate in general. A certain public utility is willing to neutralize it in one’s private life (his speech has the form of what J. Kristeva ascribes to the “virtuous exasperation” of Criticism facing “sentimental naïvety”). Then we must reassert its possible Call and Word, by showing how Barthes himself dealt with them. Therefore these lines of attack: the Style or the Intimate force, its representation in the scandalous oblivion of the subject — after Barthes, far from him; the Diary in which this scandal best echoes — according to Barthes: depending on the rythm that causes to rethink the Essay; the very writing of the Intimate or written form, can’t be resumed to the identity, but can be measured by the wide range of themes (Voice, Ego, Resistance). It turns the work into “work-life”, going from this space to life’s structure and events; the Nothing of the speech at which this writing is articulated with, which Barthes starts to mention with reading and eludes at the same time
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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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Oliveira, Alice Bicalho de. "Ensaios sobre corpo e grafia: figura, grão e gesto em Roland Barthes: figura; grão e gesto em Roland Barthes." Universidade Federal de Minas Gerais, 2009. http://hdl.handle.net/1843/ECAP-7SGKWM.
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O presente trabalho procura pesquisar a relação entre corpo e escrita na obra de Roland Barthes a partir dos termos 'figura', 'grão' e 'gesto'. O primeiro capítulo volta-se para o estudo do fragmento e da leitura como pontos determinantes para a produção do movimento da figura na obra 'Fragmentos de um Discurso Amoroso'. O segundo capítulo tenta afinar o conhecimento das especificidades do corpo que escreve e lê, assim como seu modo de inscrição no texto. Para isto, parte-se da idéia de grão desenvolvida por Barthes em alguns ensaios reunidos em 'Óbvio e Obtuso'. O terceiro capítulo retoma a questão da inscrição do movimento e da ação de um corpo específico na escrita, a partir da concepção, proposta por Barthes no ensaio 'Variações sobre a escrita', desta última como atividade manual. Busca-se refletir sobre o gesto a partir de dois pontos distintos: como ação oposta ao ato e como movimento produtor do traço. Na interseção de tais acepções, estuda-se as semiografias de Masson na tentativa de teorizar certa transitividade da escrita entendida não mais como desejo de um objeto final, mas como o desejo da produção em si. Finalmente, esta dissertação se propõe, a partir das reflexões sobre cada um dos três termos estudados, pontuar algumas conseqüências do estudo do corpo para aquela teoria de Barthes que pode ser reunida sob o nome de 'prazer do texto'.
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Bratfisch, Juliana Gonçalves. "Política do intervalo (la voie de Roland Barthes)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-22052015-104452/.
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Este estudo busca traçar os caminhos de uma leitura em que Barthes é visto não como um crítico cuja obra deve ser desdobrada, mas como um escritor da literatura francesa. Para isso, escolhi percorrer a sua obra, olhando para a sua inscrição no intervalo entre os textos lidos e escritos mas também para como ele se inscreve no intervalo que existe entre a ficção e a crítica até o encontro de uma frase que talvez possa iluminar todo o meu percurso.This study attempts to trace the paths of a reading in which Barthes is seen, not as a critic, but as a writer of French literature. To do so, I chose to go through his complete works, looking at his inscription in the interval between the read and the written texts - but also in how he fits into the range that exists between fiction and criticism - until the meeting of a phrase that might illuminate my whole itinerary.
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Burnett, Maija. "Eyeing the ear : Roland Barthes and the song lyric." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37195.pdf.
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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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Guittard, Jacqueline. "Roland Barthes : la photographie ou l'épreuve de l'écriture." Paris 7, 2004. http://www.theses.fr/2004PA070077.
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Présenter la photographie dans l'œuvre de Roland Barthes comme l'épreuve de l'écriture revient à lui accorder une place prépondérante, non comme ornement mais comme modèle et horizon d'une écriture cherchant à naître hors des impasses que Barthes a lui-même formulées. La thèse retrace donc les différentes étapes d'un parcours d'écrivain qui se réfère en permanence à la leçon photographique. Cette généalogie prend donc en écharpe la dimension biographique, intellectuelle et idéologique. Dans cette perspective, il fallait révéler par exemple la présence ignorée ou latente de la photographie tant dans la période sociologique de Barthes au CNRS que dans l'écriture mythologique, comme il fallait révéler également la composante mortifère de l'image photographique, déjà présente dans les textes scientifiques. L'un des apports de cette contribution aux études barthésiennes a consisté dans la mise au jour de documents biographiques inédits, ainsi que de documents iconiques à la source d'une écriture métissée, à la fois théorique, sensuelle et sensible. L'inversion du rapport entre écriture et photographie, loin d'être un simple paradoxe, pose en définitive la question mouvante du réel et du réalisme aui a toujours hanté l'auteur : le désir du neutre ne peut s'accomoder d'un réalisme classique, pas plus que le discours autobiographique ne peut s ‘annoncer par la manisfestation d'un "Je " bruyant et complaisant. La photographie fut cette " échappée belle " qui permis à Barthes de célébrer d'abord un réel hors de la comptabilité du sens pour le hausser enfin au rang d'un réalisme amoureux lorsqu'il s'est agi pour lui d'oser enfin le discours autobiographiqueTo present photography in Roland Barthes's works as the "test of writing" comes down to give it a dominating place not as an ornament but as the model and horizon of a writing that is trying to arise out of the dead ends Barthes himself formulated. This thesis thus retraces the different stages of a iourney undertaken by a writer who permanently refers himself to the photographie lesson. This genealoay hits sideways on the biographical, intellectual and ideological dimensions. From this viewpoint, the ignored or hidden presence of photography had to be revealed in Barthes's sociological period at the CNRS as weil as in the mythological writing, just as had to be revealed the death- ridden component of the photographic image which is already noticed in the scientific texts. What this contribution bring to Barthesian studies is the discoverv of unpublished biographical documents as weil as iconic documents springing from a crossbred writina which is at the same time theoretical. Sensual and sensitive. The inversion of the link between writing and photography, far from being simply paradoxical, eventually keeps asking the moving question of reality and realism that has always haunted the author the wish to remain neutral cannot put up with classical realism no more can the autobiographical discourse introduce itself with a noisy and complacent "I ". Photography was this "free ride" that helped Barthes to start celebrating reality out of the comptability of meaning and to haul it to the rank of amorous realism when he finally dared autobiographical discourse
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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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Messager, Mathieu. "Les hétérologies du savoir (Roland Barthes, Pascal Quignard)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA136/document.
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De Roland Barthes à Pascal Quignard, ce que l’on observe c’est la recherche d’une hétérologie du savoir ; l’accentuation d’un discours « autre » sur le savoir ou plutôt la spectacularisation d’une forme hétérodoxe de l’écriture du savoir. Cela passe par le mélange des registres narratifs et argumentatifs, par le choix d’une forme plus fragmentaire que dissertative, par l’ouverture aux jeux énonciatifs comme par l’accueil de courts passages fictionnels dans les marges de la prose d’idées, par le souci enfin de la dimension figurale qui travaille en profondeur l’écriture du texte théorique. En engageant une comparaison entre ces deux générations d’écrivains, nous avons tenté une approche généalogique de cette ressaisie « hétérologique » des savoirs par la littérature. La question a été la suivante : qu’est-ce que l’insistance de la littérarisation du discours savant par les littéraires nous dit, en retour, de l’idée que la littérature se fait d’elle-même ? Derrière toutes ces annexions des disciplines savantes dans le domaine de la littérature – d’ailleurs exclusivement menées depuis la littérature, dans une indifférence quasi unanime de la « science » dont l’émancipation n’a plus à être revendiquée – n’y-a-t-il pas toute une stratégie de redressement symbolique du pouvoir et de la figure du littéraire ? Il ne s’agit pas ici d’une contribution à l’histoire de la littérature – dont le plan, souvent trop vaste, finit par essentialiser l’objet qu’elle se propose précisément d’historiciser –, mais plutôt d’une participation à l’histoire de l’idée de littérature ; et à l’intérieur de celle-ci, de façon plus resserrée encore, la tentative d’éclairer l’histoire de l’idée selon laquelle la littérature récente s’est voulue (de nouveau) souveraine dans l’ordre des discoursThe thing one observes moving from Roland Barthes to Pascal Quignard is the search for a sort of heterology of knowledge; the emphasis of an “other” discourse on knowledge or rather the spectacular display of a heterodox form for the writing of knowledge. This takes place by means of the intertwinement of both narrative and argumentative registers, as well as by the choice of a more fragmented rather than dissertational form, by a sort of openness to enunciation games but also by the incorporation of short fictional excerpts within the margins of such prose of ideas and finally by pondering the figural dimension deeply operating the writing of the theoretical text. The comparison initiated herewith between these two generations of writers has led us to put forward a genealogical approach of such “heterological” restoration of knowledge by literature. The question was outlined as follows: what does the insistence of the use by the literary of a scholar discourse literalization tell us, in its own way, concerning the very idea literature projects of itself? Underlying all the annexations of scholarly disciplines within the field of literature — indeed exclusively conducted from literature's point of view, in an almost unanimous indifference towards “science” whose emancipation no longer needs to be claimed — one asks whether there would not be a complete symbolic turnaround strategy of both the power and the figure of the literary. We do not aim at contributing to the history of literature — whose plan, often too wide, ends by essentializing the precise object it seeks to historicize — but rather to participating in the history of an idea of literature itself; and herewith, in a more strict manner, attempting to enlighten the history of the idea that recent literature has (once again) sought sovereignty within the order of discourse
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Yacavone, Kathrin. "Towards redemption : Walter Benjamin and Roland Barthes on photography." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/3715.
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This thesis compares and contrasts the multiple discourses on photography found in the critical and theoretical writings of Walter Benjamin and Roland Barthes. It seeks to demonstrate that despite the different historical, philosophical, cultural, and linguistic contexts of their work, Benjamin and Barthes engage with a similar constellation of questions and problems that photography uniquely poses. It argues that each author moves towards a practice of redemptive criticism as foregrounded in relation to one privileged photograph in each case (the childhood portrait of Franz Kafka, for Benjamin, and the photograph of the mother-as-child for Barthes). Dedicated to a close reading of relevant texts by each author, the study is divided into three parts, with each corresponding to a different set of themes to which the photographic is related. The first part focuses on the historical and evolutionary development of Benjamin’s and Barthes’s view of photography in the context of wider shifts in their critical practice and methodology, and then in comparison with each other. The second part investigates the complex historical and philosophical influence of Proustian aesthetics on their writing on photography. Suggesting that Proust’s philosophy of memory provides an apt point of departure for Benjamin’s and Barthes’s discussion of photography in relation to memory, it traces how each thinker then moves beyond the Proustian conceptual framework towards similar ends. The third and final part is devoted to Benjamin’s and Barthes’s conceptualisation of photography in relation to singularity. Specifically, it centres on how certain photographs convey singularity as a function of the relation between the photograph, its referent, and its beholder. In total, this study argues that Benjamin and Barthes rightly deserve their often acknowledged places as pioneering figures in the theory of photography. However, while both theorists provide numerous important insights into the historical, cultural, and phenomenological nature and function of the medium, their writing on photography is also marked (perhaps necessarily, in some cases) by ambiguities, contradictions, and problematic evaluative judgements (with respect to both the medium and to particular photographs) which must be acknowledged in order to gain a proper appreciation of their work in this area.
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Oster, Angela. "Ästhestik der Atopie Roland Barthes und Pier Paolo Pasolini." Heidelberg Winter, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2837327&prov=M&dok_var=1&dok_ext=htm.
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Міхно, Світлана Василівна, Свитлана Васильевна Михно, Svitlana Vasylivna Mikhno, and A. Holovchenko. "The death of the author according to roland barthes." Thesis, Вид-во СумДУ, 2009. http://essuir.sumdu.edu.ua/handle/123456789/16784.
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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
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Bloedhorn, Thorsten [Verfasser]. "ZeichenWelten : Roland Barthes' Denken in Begriffen der Bedeutung / Thorsten Bloedhorn." Berlin : Freie Universität Berlin, 2010. http://d-nb.info/1024006727/34.
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O'Sullivan, Maria. "Entendre autre chose : Roland Barthes as literary critic, 1942-1970." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540168.
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Stafford, Andy. "Roland Barthes, 1947-1960 : journalism, sociology and the popular theatre." Thesis, University of Nottingham, 1995. http://eprints.nottingham.ac.uk/10978/.
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This thesis situates the writings of Roland Barthes in the immediate postwar period. Whilst Barthes's thought has generally been appreciated for its theoretical innovations, this study identifies the historical and cultural influences behind his theories. His first permanent job in 1960, at the age of forty-five, ended a decade of career and financial uncertainties, during which he had been, above all, a journalist. His most famous book, Mythologies, consists of articles which were originally part of a monthly column appearing in the left-wing journal Les Lettres nouvelles between 1954 and 1956; this column helped to inflect the journal's attitude towards events such as decolonization. At the same time, he was active in the popular theatre movement, writing for Theatre populaire and defending Brechtian theatre. Barthes was also a pioneer of analytical tools in the social sciences. An avid reader of Michelet's attempts to 'resurrect' those who had been excluded by traditional historical narratives, Barthes valued the new history-writing of the Annales. He suggested a historical materialist analysis which, underlining the voluntarist nature of history, tried to resolve two historiographical dilemmas. Firstly, how could historical representation incorporate both continuity and change? Secondly, could a scientific, objective description of reality be reconciled with its partisan, subjective explanation? Undermining his earlier voluntarist view of history, the first dilemma was resolved by semiology: change and continuity were reconciled by showing forms functioning in a system. In the second the committed sociologist and critic could use the 'dialectique d'amour' to denounce and explain the alienation caused by bourgeois myths. However, whilst developing his semiological analysis, Barthes also concluded that a representation of both subjective and objective reality led to the exclusion of the committed critic. Finally, this thesis will suggest how Barthes's experiences and theoretical developments can be linked to his political views in this immediate postwar period.
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Gardner, Calum. "Roland Barthes and English-language avant-garde poetry, 1970-1990." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/94082/.
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This thesis looks at the engagement of English-language poets with the writing of Roland Barthes, and considers how a reading of Barthes may help understanding of a range of challenging experimental work. The introduction to the thesis lays a groundwork of how Barthes has been read in English since the first widely available translations of his work appeared in the 1960s, and thus establishes the intellectual context in which poets have written since. Beginning in the first chapter with Veronica Forrest-Thomson, the first of these poets to have looked at Barthes in detail, it looks both at poetry and of poets’ writings in the fields of criticism and poetics. From Forrest-Thomson the thesis moves in the second chapter to North America and considers the place of Barthes, particularly his Writing Degree Zero, in the intellectual context out of which emerged what has come to be known as ‘language writing’, combining a survey of this writing with close readings of the work of Ron Silliman, Ray DiPalma, Lyn Hejinian, Bernadette Mayer, and others. In the third chapter, the investigation of this diffuse tendency in poetry is followed through various strands, focussing in particular on periodicals and archival material. Finally, the fourth chapter looks at Anne Carson, Deborah Levy, and Kristjana Gunnars, and considers Barthes’ relevance to their texts’ thinking about writing. The intersection of theory and the emotional life is explored using the theoretical lens of Chris Kraus’ experimental fiction, particularly her notion of a ‘lonely girl phenomenology’. Barthes has had a diverse range of effects on poets’ thinking about writing and their writing practices, and our understanding of Barthes as a writer, what we mean by the ‘Barthesian’, and individual notions of his such as the ‘death of the author’ and his work on the possibilities of the fragment, have changed over time. The thesis considers the potential of Barthes’ writing to help us think about literature and its future utility for poetry studies.
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Nantois-Kobayashi, Sachi. ""Mathesis singularis" : lecture et subjectivité dans l'oeuvre de Roland Barthes." Paris 4, 2006. http://www.theses.fr/2006PA040197.
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L’évolution intellectuelle de Barthes est souvent hantée du constat, en apparence irréconciliable et irréductible, de la dualité : soit Barthes théoricien, soit Barthes amateur désinvolte ? Cette étude prend pour point de départ cette contradiction réitérée par l’auteur lui-même. Dans un premier temps, l’élaboration du système sémiologique s’avère appuyée sur la subjectivité, certes non impressionniste, mais enracinée dans l’expérience et la pratique, contrairement aux lieux communs propres à la science. Dans un deuxième temps, le sujet revient en premier plan sous le signe de la rupture. La recherche de la « subjectivité absolue » qui part de « mes » réactions subjectives prenant les affects pour points de référence, s’installe dans une certaine forme de savoir en vertu de la recherche de l’essence de la photographie et de celle de la nouvelle écriture appelée « Roman » : l’une est « mathesis singularis » et l’autre est la « science fantasmatique »The intellectual evolution of Barthes is frequently haunted by the apparently contradictory assertion of the duality : theorist Barthes or nonchalant amateur Barthes ? This study as a starting point takes this contradiction repeated by the same author. In the first time, the elaboration of the semiotic system appears founded on the subjectivity, certainly not impressionist, but rooted in the experience and the practice, on the contrary to the commonplace proper to the science. In the second time, the subject comes back in the sign of the break. The searching of the « absolute subjectivity » which starts from “my” subjective reactions by taking the affects for reference points, is placed in a certain form of the knowledge by virtue of the quest for the essence of the photography and the new form of writing called “Roman” : the one is “mathesis singularis” et the other is the “science of fantasy”
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Heddi, El Hassane. "Forme et sens de l'image dans l'oeuvre de Roland Barthes." Bordeaux 3, 1993. http://www.theses.fr/1993BOR30050.
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La premiere partie s'intitule photographies ; elle analyse "le message photographique" et "rhetorique de l'image". Le premier traite du fameux paradoxe de la photographie de presse en tant que "message sans code", le second s'interesse a la photographie publicitaire en tant que langage. La seconde partie s'intitule les en deca de l'image. Elle analyse. Respectivement "le sens obtus" sur des photogrammes de s. M. E. , l'autobiographie de barthes r. B. Par r. B. Et l'empire des signes qui est un livre sur le japon. Dans cette partie, l'image n'est plus un moyen de communication, mais ce qui provoque ce que l'auteur appelle le "vacillement visuel". La troisieme partie est entierement consacree a la chambre claire, dernier et ultime livre de barthes. Elle s'intitule l'image entrelacs. La tentation (et la tentative) romanesque de barthes y est clairement exprimee. Pour ma part, j'ai essaye d'analyser les concepts de punctum, studium, ecriture, scene, theatre, peinture, mort, litterature, discours, etc. Et leurs rapports a l'imageThe first part titles photographies. She is about "le message photographique" and "rhetorique de l'image". The first one deals with the very paradox of photography in press as a "codeless message". The second one is about advertising photography as a language. The second part is called les en deca de l'image. It deals with respectively "le sens obtus" about some photograms of s. M. E. , r. B. 's autobiography r. B. By r. B. And l'empire des signes which is a book on japan. In this part, the image is not more a way of communication, but creates the "visual plattering". The third part deals with la chambre clarie, the very last book r. B. There is clearly expressed the romanesque temptation from r. B. This part is called l'image entrelacs. I tried to analyse the following concepts : punctum, studium, writing, scene, theater, painting, death, litterature, speech, and their relation to image
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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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Bellocchio, Carolina Molinar. "Uma visão sutil do mundo: escritura, enunciação e variação em Roland Barthes." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-01022018-125445/.
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Este trabalho nasceu do desejo de destrinçar a noção de escritura de Roland Barthes a partir do pressuposto de sua indistinção entre o aspecto estético e o ético. Considerando que desde seus primeiros escritos identifica-se esta percepção que a forma também é valor, desejamos mostrar como a materialidade da escritura encena essa ligação do escritor com seu presente ao longo de seus textos. Nessa travessia, defendemos que Barthes se apropriou das noções de discurso e enunciação, propostas por Émile Benveniste, uma vez que elas ajudaramno a conformar uma compreensão inédita da frase como atividade criadora, particular e inédita. Para Barthes, tal compreensão foi ao encontro de sua concepção sobre a escritura, possibilitando a esta ser entendida precisamente como produção de um sujeito sempre presente, mas que paradoxalmente se dissemina e se constitui pelo exercício da língua. A frase, assim, torna-se o espaço que o sujeito varia infinitamente, produzindo nuances que o afetam de modo contínuo. A escritura entendida como enunciação possibilita a Barthes o exercício infinito de uma forma que o vincula ao outro e que por isso designa uma inscrição ética, moral ou de moralidade, ondulação de nuances que dão-se a ver conforme o deslocamento de sua escritura. No encontro entre sujeito e mundo, da singularidade de seu corpo e dos corpos dos outros, a escritura torna-se o ângulo e o modo de enunciar cada vez \"uma visão sutil do mundo\".This work came up as a wish to unravel the writing notion proposed by Roland Barthes from the assumption of the indistinct aspect of aesthetic and ethic elements. Taking into consideration that since his first writings one identifies the idea of form understood as a value, we would like to demonstrate how the materiality of his writings plays the bind between the writer with his present throughout the years. In this crossing, we propose that Barthes has appropriated the notions of discourse and enunciation by Émile Benveniste, once they helped him to conceive a new comprehension of the sentence as a creative, particular and unprecedented activity. This comprehension of Benveniste suited Barthes idea of writing, making it possible to be precisely understood as produced by an always-present subject, although paradoxically disseminated and constituted through the language. The sentence, therefore, becomes the space where the subject varies infinitely and constantly produces nuances. Writing comprehended as enunciation makes possible the unlimited exercise of a form that binds the subject to the others. This designates an ethical, moral or morality inscription, hues of concepts produced according to the shift of Barthes texts. In the encounter of the subject and the world, of the singularity of his body and the others bodies, writing becomes the very angle and the manner to enunciate each time a \'subtle vision of the world\'.
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Martinsson, Yvonne. "Eroticism, ethics and reading : Angela Carter in dialogue with Roland Barthes." Doctoral thesis, Stockholms universitet, Engelska institutionen, 1996. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-80480.
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Howie, Elizabeth Mavor Carol. "Photography's courtly desires Jacques Lacan, Roland Barthes, and the photographic beloved /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1116.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art." Discipline: Art; Department/School: Art.
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Salgado, Carmem Cinira Lacerda Guimarães. "Possibilidades de leitura e produção de textos inspirados em Roland Barthes." [s.n.], 1988. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252269.
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Orientador: Maria Ines FiniDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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JASIONOWICZ, STANISLAW. "Roland barthes-gilbert durand visee de l'oeuvre et visions du monde." Grenoble 3, 1997. http://www.theses.fr/1997GRE39017.
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Le travail est consacre a l'examen de l'activite critique de deux auteurs francais: roalnd barthes et gilbert durand. Le but principal de la these consiste a confronter les attitudes intellectuelles, les methodes d'approche des oeuvres de culture et les resultats finaux de la recherche menee par les deux critiques que, selon une opinion courante, "tout" separe. La premiere partie presente ainsi les "silhouettes" intellectuelles" de r. Barthes et de g. Durand, ce qui permet de determiner les champs communs de leurs investigations dans le domaine des sciences humaines. La deuxieme partie est consacree a l'etude des aspects methodologiques de leurs conceptions et accentue surtout leur effort commun pour depasser l'antithese de la perspective objectiviste de l'approche des oeuvres et leur approche subjectiviste. La troisieme partie rapporte les idees des auteurs concernes a la critique des oeuvres de narration. L'etude des aspects des oeuvres que r. Barthes et g. Durand mettent en relief permet de reflechir sur les bases intellectuelles et imaginaires de leurs conceptions ainsi que sur les rapports qui existeraient entre les choix methodologiques effectues par les critiques et les conceptions du monde plus generales qui emanent de leurs travaux. La quatrieme partie, qui constitue en meme temps une conclusion elargie, se propose de situer les deux auteurs dans la perspective plus large des tendances generales de la culture occidentale au seuil du xxie siecle et presente l'oeuvre de r. Barthes et de g. Durand comme reflechissant l'etat actuel de la reflexion sur le phenomene de lasignificationThe thesis is devoted to analysis of the activity of roland barthes and gilbert durand. Its main purpose is to compare and relate the kind of imagination, research methods and the results of findings of these two critics that are generally considered as representing two extremes of humanities. In the first part of the paper the intellectual personnalities of r. Barthes and g. Durand are presented. This allows to indicate the basics elements on which their thoughts are based. The second part is devoted to the methodological aspect of research activity of these two critics as far as writing are concerned. It has been found that they both, maybe in different ways, examine the possibility of reconciling the objective analysis of literary work with the subjective approach, usually considered as being in opposition. The third part relates the former results of research (presented in the first part of the paper) to r. Barthes' and g. Durand's critical reflections, mainly about narrative writing of the 19th and 20 th centuries. On this basis the relationships between the attitudes towards literary works and outlooks on life represented by these two autors are analysed. The fourth part, which is also an extended conclusions, aims at thinking over the place of r. Barthes' and g. Durand's activity on the background of general trends of the culture nowadays
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Han, Yong-Hee. "Enjeux de la théorie du texte dans l'oeuvre de Roland Barthes." Paris 8, 2003. http://www.theses.fr/2003PA082270.
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Nous avons étudié les enjeux de la théorie du texte ou de la théorie littéraire. Pour cela, nous avons distingué quatre parties : sémiologie, thématique, structuralisme, "textualisme". Puis, nous avons étudié la psychanalyse tout au long de nos quatre parties. La sémiologie de Roland Barthes a différentes étapes qui ne sont pas cohérentes du début à la fin. Son épistémologie relève à la psychanalyse plutôt qu'à la linguistique. La thématique est introduite au début de la critique de Roland Barthes et reste longtemps. Concernant l'épistémologie de son structuralisme, la thématique et la psychanalyse sont aussi importantes que la linguistique. Surtout, la psychanalyse a souvent dominé sa pensée structurale. Dans le "textualisme" dès S/Z, la psychanalyse surtout lacanienne mélangée avec le matérialiste est très présente. Depuis, il a souligné les mots : travail, production, tissage, signifiance, jouissance. . . Pour développer sa théorie du texteWe studied the stakes of text's theory or litterary theory in Roland Barthes' work. We studied it in four parts : semiology, thematism, structuralism, " textualism ". We saw psychoanalisis all long our four parts. Barthes' semiology went thraugh different steps, which are not coherent from the begining to the end. His epistemology is linked to psychoanalisis more than linguistic. Thematism is introduced since the beginning of Barthes' theory and remains during a long period. Abaut his structuralism's epistemology, thematism and psychoanalisis are as important as linguistic. Especially psychoanalisis, which ruled over his structural thought. In textualism, since S/Z, psychoanalisis, almost lacanian, mixed up with materialism, is very actual. From now and then, he underlined words such as : " work ", " production ", " weaving ", " signifiance ", " enjoyment " to develop his text's theory
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Pommier, René. "Racine et la "Nouvelle critique" : le "Sur Racine" de Roland Barthes." Paris 4, 1986. http://www.theses.fr/1986PA040418.
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Pommier, René. "Racine et la "Nouvelle Critique" le "Sur Racine" de Roland Barthes /." Lille 3 : ANRT, 1990. http://catalogue.bnf.fr/ark:/12148/cb37600478d.
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Petetin, Véronique. "Figures du sujet dans l'oeuvre de Roland Barthes dérives, bonheurs, anagrammes /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376175370.
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Padilha, Conrado Valle de Queiroz. "O conceito de mito na obra de Roland Barthes: desdobramentos e atualidade." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4643.
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The cardinal purpose of this work is to present the Barthesian concept of myth as per its definition in Mythologies. It is also an attempt to follow how it unfolds in the work of Roland Barthes through a small set of selected texts: Writing Degree Zero, Mythologies, Elements of Semiology, L obvie et l obtus, Roland Barthes by Roland Barthes, and Camera Lucida. This research implies in handling the concept of connotation, through which Barthes defines the myth as an ultra-signification message. We here play with the hypothesis of the concept of studium, belatedly introduced in Camera Lucida, as a reformulation of the myth in the photography field, since Barthes himself sees in it the same characteristic effect of the connotative phenomenon. In such a manner, the corpus of this research is given by the author s mentioned texts; for its convenient aspect, it is also added of the repertoire of images offered by the researcher Jacqueline Guittard and her Mythologies illustrées, which recaptures and expands the edition known so far; the images of Camera Lucida are also added to it. The relevance of this research is tied to the possibility offered by Barthes oeuvre to criticize the mass communications in a historic and semiotic perspective, always paying attention to the work of the signifier
O trabalho tem por objetivo primordial apresentar o conceito barthesiano de mito , conforme definido em Mitologias. Trata-se também de acompanhar seus desdobramentos na obra de Roland Barthes por meio de um pequeno conjunto de textos selecionados: O grau zero da escritura, Mitologias, Elementos de semiologia, O óbvio e o obtuso, Roland Barthes por Roland Barthes e A câmara clara. Tal busca demanda trabalhar com o conceito de conotação, através do qual Barthes define o mito enquanto uma mensagem de ultrassignificação. Jogamos com a hipótese de que o conceito de studium, tardiamente introduzido em A câmara clara, é a reformulação do mito no campo da fotografia, já que Barthes vê aí o mesmo efeito característico do fenômeno conotativo. Assim, o corpus da pesquisa é dado pelos referidos textos do autor. Pelo caráter oportuno, este corpus é acrescido do repertório de imagens fornecido pela pesquisadora Jacqueline Guittard em seu Mitologias ilustrado, que retoma e aumenta a edição até aqui conhecida; a isto acrescentam-se ainda as imagens de A câmara clara. A relevância da pesquisa liga-se à possibilidade que a obra de Barthes nos oferece de voltar às comunicações de massa uma crítica ao mesmo tempo semiótica e histórica, sempre atenta ao trabalho do significante