Coauthorality

Tandem Dances ◽  
2020 ◽  
pp. 181-206
Author(s):  
Julia M. Ritter
Keyword(s):  
Roland Barthes ◽  
Making Meaning ◽  
Death Of The Author ◽  
Interpretive Flexibility

Chapter 5 introduces the idea of actuating to argue that once spectators are actuated, they can shift into states of being coauthorial, or coauthorality. Drawing upon Roland Barthes’ theory of the “death of the author,” in which he relocates the authority for making meaning of a text from author to reader, this chapter ties into larger debates concerning coauthorship and the embodied participation of audiences in immersive performance. It is argued that choreographic structures compound spectators’ perceptions of coauthorship for two reasons: spectators’ direct physical engagement in improvisational scores and the interpretive flexibility of dance itself. In immersive productions, dance provides opportunities for audiences to conceive of their participation as generating and coauthoring content that contributes to the production.

Authorship and Autography

PMLA ◽  
2001 ◽  
Vol 116 (5) ◽  
pp. 1377-1385
Author(s):  
Michael North
Keyword(s):  
Michel Foucault ◽  
Human Subject ◽  
Roland Barthes ◽  
The Status ◽  
Technological Developments ◽  
Historical Phenomenon ◽  
The Dead ◽  
Written Word ◽  
Death Of The Author ◽  
The Way

The Single Most Influential Contemporary Statement on Authorship is Still the Obituary that Roland Barthes pronounced over thirty years ago (Burke, Death 19). Partly by the stark extremity of its title, Barthes's essay “The Death of the Author” transformed New Critical distaste for the biographical into an ontological conviction about the status of language (Burke, Death 16) and in so doing made the dead author far more influential than living authors had been for some time. If authorship is now a subject of contention in the academy rather than a vulgar embarrassment, it is largely because of the way that Barthes inflated the issue in the very act of dismissing it. Though the idea that “it is language which speaks, not the author,” seems to demote the human subject (“Death” 143), it may also promote the written word, and it has been objected from the beginning, by Michel Foucault first of all, that the notion of écriture “has merely transposed the empirical characteristics of an author to a transcendental anonymity” (Foucault 120). Many later critics have agreed, and thus there have been a series of arguments, from the theoretical (Burke, Death) to the empirical (Stillinger), to the effect that the whole post-Saussurean turn exemplified by Barthes has not so much killed off the concept of the author as raised it to a higher plane of abstraction. But it may be that, approached from another angle, Barthes's essay will turn out to have its own relation to certain social and technological developments, and that these, in their turn, will help to situate the death of the author as a historical phenomenon.

Art and Archaeology

2020 ◽  
Vol 67 (1) ◽  
pp. 103-113
Author(s):  
Michael Squire
Keyword(s):  
Roland Barthes ◽  
Classical Archaeology ◽  
Greek Sculpture ◽  
Death Of The Author

‘An anonymous product of an impersonal craft’: that is how Rhys Carpenter characterized Greek sculpture in 1960, and it's an assessment that has long dominated the field. Carpenter was challenging the traditional workings of classical archaeology, not least its infatuation with individual ‘masters’. While responding to past precedent, however, his comments also looked forward in time, heralding a decidedly postmodern turn. From our perspective in 2020, six decades after his book was first published, Carpenter can be seen to anticipate what Roland Barthes would dub the ‘death of the author’: ‘the birth of the reader must be ransomed by the death of the author’, as Barthes put it.

Death

2020 ◽  
pp. 102-116
Author(s):  
Benoît Peeters
Keyword(s):  
World Literature ◽  
Literary Work ◽  
Roland Barthes ◽  
Genre Conventions ◽  
Death Of The Author

Roland Barthes’s 1967 essay ‘The Death of the Author’ looms large over any attempt to argue for the renewed necessity of incorporating considerations of authorship into the study of world literature. Less than a decade after the publication of ‘Death of the Author’, however, Barthes followed up on it with an autobiography, albeit a deeply unorthodox one. In tracing the fortunes of this autobiography through subsequent editions and translations, the graphic novelist, biographer, and comics expert Benoît Peeters demonstrates how our image of an author, just like our understanding of a literary work according to Barthes’s structuralist understanding, is conditioned by unconscious and even impersonal forces. The simple decision by an editor unfamiliar with the contents of Roland Barthes by Roland Barthes to exchange a cover illustration in order to make the book more closely conform to genre conventions can have devastating consequences.

ALL THE POWER IN THE HANDS OF READERS? THE NEGOTIATION OF AUTHOR AND READER ROLES BASED ON EXAMPLES IN THE BLOGOSPHERE

2016 ◽  
Vol 11 (3) ◽  
pp. 15-26
Author(s):  
Marta WIĘCKIEWICZ-ARCHACKA
Keyword(s):  
New Media ◽  
Roland Barthes ◽  
Starting Point ◽  
Death Of The Author

This paper concerns the process of negotiating author and reader roles in the blogosphere.The starting point of this article is the theory of Roland Barthes that the death of the author isnecessary for the birth of the reader. This idea notably responds to changing relations between theauthor and the reader in the new media era. The example of the blogosphere allows us to see thatthe roles of the author and the reader are not pre-defined and the field of their “laws” is negotiated(two models of negotiations are described in this paper). In the blogosphere, which is an example ofparticipatory culture, knocking the author off his pedestal does not result in the reader replacingthe author, as R. Barthes would like. On the empty pedestal, after dumping the author, the readerdoes not appear – but communication does.

scholarly journals The Death of the Da’i: The Autonomization of Religious Messages within Cyberspace

ULUMUNA ◽  
2018 ◽  
Vol 22 (2) ◽  
pp. 255-276
Author(s):  
Fazlul Rahman
Keyword(s):  
Roland Barthes ◽  
The Internet ◽  
Ethnographic Research ◽  
Intellectual Knowledge ◽  
Professional Capacity ◽  
Death Of The Author

 This paper attempts to explore the phenomenon of Islamic propagation (dakwah) on the Internet known as "e-dakwah." It problematizes the authority of religious messages within cyberspace vis a vis Internet’s anonymity. This 'cyber ethnographic' research shows that people in cyberscape are concerned more with the messages than their authors. This study confirms the autonomic truth of the messages as it is supported by Imam ‘Alī bin Abī Ṭālib’s popular argument “listen to what has been said, not who has said that." Consequently, the truth and acceptance of it in the dakwah activities or messages within cyberspace does not depend on the preachers (dā‘ī) and their professional capacity and intellectual knowledge, but on the object of dakwah (mad‘ū). This paper proposes the term “The death of the da’i,” which is adapted from Roland Barthes' term “The death of the author” in his image-music-text,  to discuss the phenomenon.

scholarly journals The death of the author | the death of the architect: Meaning in architecture and the role of users

2018 ◽  
Vol 10 (1) ◽  
pp. 1-12
Author(s):  
Julian Franke
Keyword(s):  
Roland Barthes ◽  
Umberto Eco ◽  
The Real ◽  
Definition Of ◽  
Death Of The Author

In his work The Death of the Author (1967), Roland Barthes creates a new definition of authorship, in that the author is not the real originator of meaning in literature, but rather the reader. This questions the influence and responsibility of originators in creative fields in general. This paper applies Barthes's thesis to the profession of architecture. Therefore the role of users is discussed, as well as meaning and language in architecture. With the help of the semiotic work by Umberto Eco and texts by Roman Ingarden and Jonathan Hill, the paper will attempt to show how the sole image of the architect is challenged, but also what makes him/her still recognisable and responsible.

Authorship and Autography

PMLA ◽  
2001 ◽  
Vol 116 (5) ◽  
pp. 1377-1385 ◽  
Author(s):  
Michael North
Keyword(s):  
Michel Foucault ◽  
Human Subject ◽  
Roland Barthes ◽  
The Status ◽  
Technological Developments ◽  
Historical Phenomenon ◽  
The Dead ◽  
Written Word ◽  
Death Of The Author ◽  
The Way

The Single Most Influential Contemporary Statement on Authorship is Still the Obituary that Roland Barthes pronounced over thirty years ago (Burke, Death 19). Partly by the stark extremity of its title, Barthes's essay “The Death of the Author” transformed New Critical distaste for the biographical into an ontological conviction about the status of language (Burke, Death 16) and in so doing made the dead author far more influential than living authors had been for some time. If authorship is now a subject of contention in the academy rather than a vulgar embarrassment, it is largely because of the way that Barthes inflated the issue in the very act of dismissing it. Though the idea that “it is language which speaks, not the author,” seems to demote the human subject (“Death” 143), it may also promote the written word, and it has been objected from the beginning, by Michel Foucault first of all, that the notion of écriture “has merely transposed the empirical characteristics of an author to a transcendental anonymity” (Foucault 120). Many later critics have agreed, and thus there have been a series of arguments, from the theoretical (Burke, Death) to the empirical (Stillinger), to the effect that the whole post-Saussurean turn exemplified by Barthes has not so much killed off the concept of the author as raised it to a higher plane of abstraction. But it may be that, approached from another angle, Barthes's essay will turn out to have its own relation to certain social and technological developments, and that these, in their turn, will help to situate the death of the author as a historical phenomenon.

scholarly journals The author in the postinternet age

2019 ◽  
Vol 30 ◽  
Author(s):  
Hannah E. Dahlberg-Dodd
Keyword(s):  
Open Source ◽  
Roland Barthes ◽  
Media Content ◽  
Heuristic Device ◽  
Death Of The Author

Fifty years since Roland Barthes proclaimed the death of the author, there still exists difficulty in framing the nature of interaction between commercial (professional) creators and fan (transformative) authors. In the postinternet age, the visibility of unsanctioned (or tacitly sanctioned) derivative fictional works has only increased, as have the number of commercial creators with experience in creating derivative works for a fan audience. It has therefore become necessary to interrogate whether the author has truly died in the Barthian sense, and if not, what role the construct of the author plays in today's popular mediascape. In an analysis of the Foucauldian author function (that is, the role discursively constructed authors play relative to their work) assessing both Euro-American and Japanese histories of fan practice, a move to a more open-source style of fan practice is evident. The author in an open-source fandom functions as a heuristic device through which fans may access and search the database, as well as a means of decentralizing commercial authority over media content.

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