scholarly journals Walter Benjamin e Roland Barthes às margens da escritura

2019 ◽  
Vol 14 (1) ◽  
pp. 87
Author(s):  
Derick Davidson Santos Teixeira
Keyword(s):  
Literary Criticism ◽  
Lived Experience ◽  
20Th Century ◽  
Literary Theory ◽  
Jacques Derrida ◽  
Walter Benjamin ◽  
Roland Barthes ◽  
Maurice Blanchot ◽  
Literary Works ◽  
The Common

Resumo: A noção de escritura, desenvolvida por teóricos como Roland Barthes,Jacques Derrida e Maurice Blanchot, no século XX, possui um lugar medular nateoria da literatura e na crítica literária. O presente trabalho propõe um cotejamento entre a teoria de Walter Benjamin e de Roland Barthes no que concerne à escritura. Tomando alguns traços principais da escritura, analisados por Barthes, em conjunto com o pensamento de Benjamin acerca da narração, do declínio da experiencia e de algumas obras da literatura moderna – como a obra de Proust– é possível elucidar de que forma a escritura, operando como um limiar (Schwelle), escapa à rigidez das fronteiras que separam o pessoal e o histórico, a ordem comum do individualismo, a experiência da vivência.Palavras-chave: Roland Barthes; Walter Benjamin; escritura; limiar.Abstract: The notion of writing, developed by theorists such as Roland Barthes, Jacques Derrida and Maurice Blanchot, in the 20th century, has a fundamental place when it comes to literary theory and literary criticism. This work proposes a collating between Walter Benjamin’s and Roland Barthes’ theory concerning writing. Taking some main features of writing, analyzed by Barthes, together with Benjamin’s thought about narration, the decline of experience and some modern literary works – such as Proust’s oeuvre – it is possible to elucidate how writing, working as a threshold (Schwelle), escapes from the rigidity of the borders that separate the personal and the historical, the common order and individualism, experience and “inner lived experience”.Keywords: Roland Barthes; Walter Benjamin; writing; threshold.

Intertextuality

2019 ◽  
Author(s):  
Graham Allen
Keyword(s):  
Literary Criticism ◽  
20Th Century ◽  
Literary Theory ◽  
Julia Kristeva ◽  
Theory And Practice ◽  
Roland Barthes ◽  
Infinite Field ◽  
Human Subjectivity ◽  
Vast Network ◽  
Models Of Reading

Intertextuality is a concept first outlined in the work of poststructuralist theorists Julia Kristeva and Roland Barthes and refers to the emergence of and understanding of any individual text out of the vast network of discourses and languages that make up culture. No text, in the light of intertextuality, stands alone; all texts have their existence and their meaning in relation to a practically infinite field of prior texts and prior significations. Such a vision of textuality emerges from 20th-century developments in our understanding of what it means to use and to be in language. No speaker creates their language from scratch; all linguistic utterances depend upon the employment and redeployment of already existent utterances. Intertextuality is part, then, of a radical rethinking of human subjectivity and human expression, a rethinking that at its most extreme argues it is language rather than human intention that generates meaning. Having found expression in the radical texts of early poststructuralism, intertextuality became a popular concept within literary criticism, often reimagined in ways that appear far less skeptical about authorial intentionality. A survey of literary theory and practice from the 1970s onward will show a host of critics and theorists employing the term to foreground formalist, political, psychoanalytical, feminist, postcolonial, postmodernist, and other modes of interpretation and commentary. At times these approaches bring the concept much closer to ideas centered in the humanistic subject, such as influence, allusion, citation, and appropriation, while at other times they continue and extend the deconstruction of traditional models of intention. What all theories and practices of intertextuality seem to share, however, is a need to reimagine the act of reading, given that reading can no longer be confined to the reader’s encounter with a single, stable, inviolable text. Taken together, intertextual theories and practices have demonstrated in a myriad of ways the need to move beyond the Author—Text—Reader model to models of reading which, by treating all texts as intertexts, confront the limits of interpretation itself.

A Future for Theory?

Paragraph ◽  
2009 ◽  
Vol 32 (2) ◽  
pp. 140-153
Author(s):  
Leslie Hill
Keyword(s):  
Literary Theory ◽  
Jacques Derrida ◽  
Roland Barthes ◽  
Maurice Blanchot ◽  
Striking Feature ◽  
The Future ◽  
Way Of Thinking ◽  
Shared Commitment

What is it that guarantees the truth of literary theory? And what is it that testifies to its survival into the future? This paper, intended primarily as a tribute to the work of Malcolm Bowie, examines some of the implications of Bowie's view that literary theory, rigorously applied, as in the case of psychoanalysis, was inseparable from its status as creative, productive, futural, perhaps even fictional performance. The paper considers these questions further in the context of that shared commitment to the neuter or the undecidable that is a striking feature of the writing on literature of Roland Barthes, Maurice Blanchot and Jacques Derrida, and which is also a way of thinking the futural possibilities and possible futures of theory.

Ein preußischer Postbeamter oder ein postmoderner Provokateur?

2021 ◽  
Vol 25 (1) ◽  
pp. 189-210
Author(s):  
Katerina Kroucheva
Keyword(s):  
Literary Theory ◽  
Jacques Derrida ◽  
Roland Barthes ◽  
Literary Studies ◽  
Literary Study ◽  
Rhetorical Construction ◽  
Specific Tension

Abstract This article concerns itself with Gérard Genette’s reception in Germanophone literary study. Through an analysis of the rhetorical substrate from which Genette’s terminology draws its specific tension, the article determines that Genette is not only an excessive systematist, but also and simultaneously an author who battles received attempts at order and who foregrounds doubts about the idea of order. In this way, he displays a kinship with such theorists as Roland Barthes and Jacques Derrida. The receptions of the rhetorical construction of Genette’s texts and of the particular strategies of structuralism to which that construction refers did not occur synchronously in French, American, Russian, and German literary studies. The article demonstrates that, while German literary theory occasionally discusses Genette’s positioning within the field, there remains a general absence of the recognition that practically all of his books display a definite proximity to deconstruction, and that this proximity plays a central role in Genette’s enire theoretical edifice. This text is, last but not least, a call to read literary-theoretical texts in their aesthetic contexts.

scholarly journals Europa Środkowa – wspólnota tekstów. Intertekstualność jako przestrzeń funkcjonowania i podtrzymywania mitu środkowoeuropejskiego

2016 ◽  
pp. 160-181
Author(s):  
Ilija Upalevski
Keyword(s):  
20Th Century ◽  
Central Europe ◽  
Literary Theory ◽  
Roland Barthes ◽  
Discourse Community ◽  
Structural Element ◽  
Cultural Texts ◽  
Do So

Central Europe – a community of texts. Intertextuality as a  plane of functioning and maintaining the myth of Central EuropeIn this article I examine two primary (sets of) questions:1. How, why and by whom the concept of Central Europe has been (re)constructed, (re)defined and (re)imagined within the field of literature in the course of the 20th century(?); and2. Through what transformations this concept has gone during the major social and political shifts in the region(?). In order to do so I am employing Roland Barthes’ semiological approach on myth in the analysis of the texts in which concept and the myth of Central Europe is constituted. I argue that these texts, creating the myth of Central Europe, use/adopt/resemantize texts/signs which previously functioned in other semiological systems. While the so called Habsburg Myth is its core structural element, the myth of Central Europe adopts/reinterprets even such cultural texts in relation to which it stands in ideological opposition – for example the myth of national tragedy. Referring to the concept of discourse community, introduced and developed in the linguistics and literary theory by John Swales, as well as to the concept of intertextuality, I argue that Central Europe can be approached as a community of texts within which the notion of the Central-Europeanness is (re)evaluated, (re)imagined and thus historically maintained. Europa Środkowa – wspólnota tekstów. Intertekstualność jako przestrzeń funkcjonowania i podtrzymywania mitu środkowoeuropejskiegoW niniejszym artykule zajmuję się pytaniami: jak, dlaczego i przez kogo pojęcie Europy Środkowej zostało społecznie zrekonstruowane w literaturze regionu na przestrzeni XX wieku oraz jak przybiegała jego transmisja/dystrybucja w zmieniających się kontekstach społeczno-politycznych. By odpowiedzieć na te pytania, semiologiczne podejście do mitu Rolanda Barthesa zostanie zastosowane w analizie tekstów budujących pojęcia, ale także mit Europy Środkowej. Analiza ta ma pokazać, że myślenie w kategoriach Europy Środkowej aktywizuje się w chwili dodatkowej semantyzacji znaków/tekstów istniejących już wcześniej w innych systemach semiologicznych. Podczas gdy tzw. mit habsburski jest jego podstawowym elementem strukturalnym, mit Europy Środkowej nawiązuje także do takich tekstów kultury, w stosunku do których stoi w opozycji – na przykład mit tragedii narodowej. Odwołując się do koncepcji wspólnoty dyskursywnej, wprowadzonej do językoznawstwa i teorii literatury przez Johna Swalesa, jak również do pojęcia intertekstualności, zakładam, że Europa Środkowa istnieje w postaci pewnej wspólnoty tekstów, w której pojęcie środkowoeuropejskości jest negocjowane, oceniane i wyobrażane na nowo.

scholarly journals Between the concept of archive and the photographic status. Walter Benjamin, Roland Barthes and Jacques Derrida, some relations for the analysis of contemporary artistic practices.

2021 ◽  
Vol 2 (29) ◽  
pp. 1-18
Author(s):  
Milena Constantakos
Keyword(s):  
Latin American ◽  
Jacques Derrida ◽  
Walter Benjamin ◽  
Roland Barthes

This paper propose to relate writings by Walter Benjamin, Roland Barthes and Jacques Derrida, in order to review some considerations on the archive paradigm in conjunction with the photographic status. Propose to rethink these notions and open some problems for the analysis of contemporary artistic practices that use photographic archives as a strategy for the appropriation and rereading of representations, experiences and historical meanings. Finally, there are also some intersections between these reflections and a series of Latin American contemporary projects that propose creating collections based on domestic archives photographs.

scholarly journals „Auf das Material kommt es an“ – Franz Friedrichs Roman Die Meisen von UUsimaa singen nicht mehr als Reflex auf den Umbruch ins digitale Zeitalter

2017 ◽  
Vol 141 ◽  
pp. 135-149
Author(s):  
Beate Sommerfeld
Keyword(s):  
Digital Media ◽  
20Th Century ◽  
Walter Benjamin ◽  
Roland Barthes ◽  
Literary Texts ◽  
Early 20Th Century ◽  
Media Discourse ◽  
The Novel ◽  
The Aesthetic ◽  
Analogue To Digital

Der Artikel behandelt den Roman Die Meisen von UUsimaa singen nicht mehr 2014 des Experimentalfilmers und Autors Franz Friedrich als Reflex auf den Umbruch vom analogen zum digitalen Zeitalter. Stark polarisierend bezieht der Roman zum Medienwandel Stellung und schlägt sich auf die Seite der Analogmedien Fotografie und Film, wobei er auf den Fotografie- und Filmdiskurs des 20. Jahrhunderts von Bela Balazs, Walter Benjamin bis hin zu Roland Barthes und Georges Didi-Huberman zurückgreift. Indem der Roman ein Gewebe aus photoästhetischen Topoi, Metaphern und Diskursen spinnt, modelliert er eine Ästhetik des Abdrucks und der Berührung, die auf Roland Barthes’ Modell des “vokalischen Schreibens” rekurriert. Das Unbehagen an der Repräsentation, das aus Friedrichs Roman spricht, geht mit einer nostalgisch gefärbten Sehnsucht nach dem Authentischen einher.“The material matters” — reflections on the upheaval from analogue to digital media in the novel The Tits of Uusimaa Don’t Sing Any More by Franz Friedrich The purpose of the article is to show how literary texts reflect upon the upheaval from analogue to digital media using the example of the novel The Tits of Uusimaa Don’t Sing Any More by the experimental filmmaker and author Franz Friedrich 2014. Friedrich approaches the technological shift from analogue to digital and the transforming landscape of media from a critical viewpoint by looking back at the early 20th-century scenario of intermedial exchange. Doing so, he refers to the 20th-century media discourse Béla Balázs, Walter Benjamin to Roland Barthes and Georges Didi-Huberman, scrutinizing and redefining analogue media by referring to various topoi, metaphors the analogue as a mental imprint of the real. Friedrich confronts the representation paradigm of literature to the aesthetic of contact and resonances, strongly related to Roland Barthes’ concept of “vocal writing”.

scholarly journals The Reception of Ernest Hemingway’s Works in Albanian Literature and Culture

2021 ◽  
Vol 5 (3) ◽  
pp. 151-168
Author(s):  
Lirak Karjagdiu ◽  
Naim Kryeziu ◽  
Isa Spahiu
Keyword(s):  
Literary Criticism ◽  
20Th Century ◽  
Literary Works ◽  
Literary Journals

The main aim of this paper is to illuminate the positive reception and influence of Hemingway’s translated work in the Albanian-speaking world. On the whole, Hemingway’s reception in Albanian literature and culture has largely been overlooked and it thus requires more profound attention and consideration. Hence, this paper will attempt to fill up a large vacuum that existed so far in Ernest Hemingway’s reception in Albanian literature and culture.“Jeta e re,” one of the most reputable literary journals in Kosova, published several journalistic and literary critiques on Hemingway written by various Albanian and international authors throughout the 20th century. Using a critical and comparative literary approach and by referencing these published prefaces, introductions, articles, reviews, etc. mainly by Albanian authors, this paper details and analyzes the research, journalism, and literary criticism published in “Jeta e re” regarding Hemingway’s works. The paper concludes that Hemingway’s literary works and masterpieces were translated and published frequently and were received with warmth and enthusiasm, leading to Hemingway becoming one of the most admired authors among Albanian readers.

scholarly journals Utopias of the Text: Pre-Figurations of the Post-Literary

CounterText ◽  
2019 ◽  
Vol 5 (1) ◽  
pp. 1-18 ◽  
Author(s):  
Benjamin Noys
Keyword(s):  
Michel Foucault ◽  
Jacques Derrida ◽  
Roland Barthes ◽  
Maurice Blanchot ◽  
Neutral Form ◽  
May 1968

Utopias of the text are the moments of the emergence of a new and radical concept of the text as overflowing all limits and boundaries. Here these utopias are traced in the writings of Roland Barthes, Jacques Derrida, and Michel Foucault. They often emerge at the margins of these texts, in fragments or boundaries at which the utopia can be glimpsed before disappearing. These utopian moments can be reconstructed as a form of thinking the post-literary and its limits. They can also be traced to the explosion of speech during May 1968 and Maurice Blanchot is a key figure who links together this political moment with the ‘neutral’ form of writing. This article explores the fading of these utopias of the text alongside this draining of political energies. These processes of critique and waning suggest the inversion of utopias of the text into dystopias of the text. Now the sign or signifier appears dispersed or even insignificant compared to the powers and forces of post-literary domination. In this situation, however, the article suggests, the persistence of the utopias of the text as a critical horizon that can still inform how we grasp the equivocations of our post-literary moment.

scholarly journals Od polityki i teorii do literatury. Wokół „Théorie d'ensemble" grupy Tel Quel

2007 ◽  
pp. 105-117
Author(s):  
Adam Dziadek
Keyword(s):  
Michel Foucault ◽  
Literary Theory ◽  
Jacques Derrida ◽  
Julia Kristeva ◽  
Roland Barthes ◽  
Tel Quel ◽  
The Way

This text aims at a description of the famous manifesto published by the group Tel Quel in France in 1968. The author gives a short analysis of chosen texts by Michel Foucault, Jacques Derrida, Roland Barthes and particularly Julia Kristeva. The analysis shows important links between politics and literary theory of the Tel Quel. It also shows the way that politics and theory (based on such intertexts as Marx, Freud and Lacan) influenced new notion of the text, of the intertextuality and the others.

scholarly journals Golpe do verso

Em Tese ◽  
2018 ◽  
Vol 23 (1) ◽  
pp. 30
Author(s):  
João Alves Rocha Neto
Keyword(s):  
Jacques Lacan ◽  
Walter Benjamin ◽  
Roland Barthes ◽  
Maurice Blanchot

O presente ensaio pretende, a partir do verso emblemático de Mallarmé – un coup de dés jamais n’abolira le hasard –, refletir sobre a função de resistência  que a palavra poética assume por afirmar a diferença em um mundo cada vez mais preocupado na afirmação da semelhança, o que muitas vezes leva à aniquilação do outro. Para isso, este trabalho passeia pela obra de alguns poetas, escritores e pensadores, como: Mallarmé, Herberto Helder, Maria Gabriela Llansol, Silvina Rodrigues Lopes, Jacques Lacan, Roland Barthes, Derrida, Walter Benjamin e Maurice Blanchot.

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