|
Prince of Thieves
2008-03-24 03:36:00 It is doubtful that Richard Prince even cares what critic Eleanor Heartney wrote about his Guggenheim Museum retrospective in her Art in America essay. The Prince brand is tried and true in the annals of postmodernist culture and one more fey dismissal of his output is easily deflected by the reams of text in various critical studies, analyses and dissertations devoted to his importance to contemporary art.That said, I write with the wary recognition that even though Prince is generally regarded as a ?Leviathan? in the blue-chip art market his motives are still misunderstood and misrepresented in major art world publications.As example, I cite Heartney?s approach to the Girlfriends series (appropriated photos from biker magazines purportedly sent in by the biker boyfriends) as an ?either/or? proposition that presents Prince as either sleazy shyster or POMO poster boy: ?In their revelation of the squalid side of biker culture, do they offer grist for meditations on the psychology o...
By: Theory NOW
Roland Barthes y lo líquido
2007-10-31 19:48:00 “Lo líquido es el estado anterior y posterior del alimento, su historia total y...
By: La Guayaba Verde
Roland Barthes
2007-09-05 15:10:00 O Grau Zera da EscritaCrítica e VerdadeEstes são os dois últimos livros que li e que me impressionaram muito não propriamente pelos temas de que tratam (com alcance profundo e imenso rigor) mas mais pela capacidade e domínio do processo de comunicação escrita do autor. Posso dizer que até agora, entre os escritores que li, Barthes é aquele cuja escrita mais me entusiasmou - cada frase é uma lição e embora não conheça o texto original, esta tradução para o português oferece-nos um texto valiosíssimo que se aproveita gloriosamente da riqueza da nossa língua. Recomendo estes ensaios literários sobretudo a quem tem pretensões enquanto crítico ou mesmo escritor.
By: O Melhor Amigo
Roland Barthes, "The Death of the Author".
2007-08-19 06:00:00 Trans. Richard HowardAvailable through UbuWeb | UbuWeb Papers; originally published in Aspen no. 5+6, "Three Essays."Selections: We know that a text does not consist of a line of words, releasing a single "theological" meaning (the "message" of the Author-God), but is a space of many dimensions, in which are wedded and contested various kinds of writing, no one of which is original: the text is a tissue of citations, resulting from the thousand sources of culture. Like Bouvard and Pecuchet, those eternal copyists, both sublime and comical and whose profound absurdity precisely designates the truth of writing, the writer can only imitate a gesture forever anterior, never original; his only power is to combine the different kinds of writing, to oppose some by others, so as never to sustain himself by just one of them; if he wants to express himself, at least he should know that the internal "thing" he claims to "translate" is itself only a readymade dictionary whose words can ...
Roland Barthes, "The Discourse of History."
2007-08-07 08:29:00 Trans. Stephen Bann. Originally published in Comparative Criticism, 3 (1981): 7-20. Excerpts (my emphasis added):The word can convey with economy a situation or a sequence of actions; it aids structuring to the extent that, when it is projected on to the level of content, it forms in itself a small-scale structure ...The very act of naming, which enables the discourse to be strongly articulated, is a reinforcement of its structure. Strongly structured histories are histories which give an important place to the substantive ...... The processes of history in themselves (however they happen to be developed through the use of terminology) pose an interesting question- among so many others, that of their status. The status of a process may be affirmative, negative or interrogative. But the status of historical discourse is uniformly assertive, affirmative. The historical fact is linguistically associated with a privileged ontological status ... historical discourse is not acquainted wi...
Roland Barthes, "Elements of Semiology"; English.
2007-05-04 11:02:00 http://gfdl.marxists.org.uk/ref-erence/subject/philosophy/works-/fr/barthes.htmFrom Elements of Semiology, 1964, publ. Hill and Wang, 1968.excerpts, Chapter II - "Signifier and Signified", part II - "The Sign":.......The sign-function bears witness to a double movement, which must be taken apart. In a first stage (this analysis is purely operative and does not imply real temporality) the function becomes pervaded with meaning. This semantisation is inevitable: as soon as there is a society, every usage is converted into a sign of itself; the use of a raincoat is to give protection from the rain, but this use cannot be dissociated from the very signs of an atmospheric situation. Since our society produces only standardised, normalised objects, these objects are unavoidably realisations of a model, the speech of a language, the substances of a significant form. To rediscover a non-signifying object, one would have to imagine a utensil absolutely improvised and with no similarity to an e...
Roland Barthes, "Elements of Semiology"; English.
2007-05-04 11:02:00 http://gfdl.marxists.org.uk/ref-erence/subject/philosophy/works-/fr/barthes.htmFrom Elements of Semiology, 1964, publ. Hill and Wang, 1968.excerpts, Chapter II - "Signifier and Signified", part II - "The Sign":.......The sign-function bears witness to a double movement, which must be taken apart. In a first stage (this analysis is purely operative and does not imply real temporality) the function becomes pervaded with meaning. This semantisation is inevitable: as soon as there is a society, every usage is converted into a sign of itself; the use of a raincoat is to give protection from the rain, but this use cannot be dissociated from the very signs of an atmospheric situation. Since our society produces only standardised, normalised objects, these objects are unavoidably realisations of a model, the speech of a language, the substances of a significant form. To rediscover a non-signifying object, one would have to imagine a utensil absolutely improvised and with no similarity to an e...
Roland Barthes por Roland Barthes
(Fragmento)
Só...
2005-07-18 00:01:00 Roland Barthes por Roland Barthes (Fragmento)Sólo he conservado las imágenes que me dejan estupefacto, sin yo saber por qué (esta ignorancia es característica de la fascinación, y lo que diré de cada imagen no será nunca sino imaginario).Cada fotografía cubre un viaje, lo esconde; no hablo del viaje que originó la foto, hablo del recorrido de la mirada, de ese agotar la superficie sin develar jamás lo que se encuentra debajo, sin descubrirlo.Eso que fascina queda en las sombras, aún más, queda sin que nadie sepa de su existencia. No es posible hablar de eso que ha fascinado, se escurre por detrás de las espaldas, es un derrame de aceite traslúcido. Se ensaya sobre lo que no fascina, sobre lo que está en tranquilidad con el universo; lo obvio es buen tema para un tratado.Suscita en mí una suerte de sueño obtuso cuyas unidades son dientes, cabellos, una nariz, una flacura, piernas con largos calcetines, que no me pertenecen, pero que tampoco pertenecen a nadie que no sea yo.Cada objet...
By: La gata aranya
Roland Barthes vs. Mixed Martial Arts
0000-00-00 00:00:00 The May issue of The Walrus features a story I wrote with Jan Dutkiewicz on mixed martial arts. I promised when we went to press that I would write a blog post on the subject of Barthes and MMA, which will hopefully not prove as obnoxious as it sounds. IÂ’m also not sure I can top Chuck Liddell (pounding Randy Couture in photo) on the subject, but IÂ’ll give it a shot. Like*As part of my and Ed KeenanÂ’s ongoing efforts to reclaim the footnote from D1a2v3i4d5 F6o7s8t9e*r& W!a†lπl∑a√c&asymp-;e©, weÂ’re taking things up a notch. Henceforth, sidenotes. most people with a Bachelor of Arts degree, IÂ’ve spent most of my adult life trying to forget about Barthes. IÂ’d largely succeeded at this task, until a former intern here, much better read than me,*Except for the works of Richard Scarry, which I am the worldÂ’s foremost expert on. It was I, you probably know, who first explicated the subtext of his masterwork, What Do People Do All Day? Turns out they mostly sit around ...
By: Riposte.org
|
|
 |
|
 |
