scholarly journals Autoridade e alteridade na China de Roland Barthes

2019 ◽  
Vol 8 (4) ◽  
Author(s):  
Laura Taddei Brandini
Keyword(s):  
Julia Kristeva ◽  
Roland Barthes ◽  
Tel Quel ◽  
Philippe Sollers

Em 1974 Roland Barthes, François Wahl, Philippe Sollers, Julia Kristeva e Marcelin Pleynet passam um mês na China de Mao Tsé-Tung. O “grupo de Tel Quel”, como era visto, visita o país sob a tutela da Agência Luxingshe, que também providencia dois guias e tradutores para acompanhar os visitantes. Tendo por fio condutor os Cadernos da viagem à China([1974] 2009) e o artigo “E então, China?” (1974) de Barthes, procurarei identificar, descrever e interpretar a presença do estrangeiro chinês aos olhos do escritor francês, por meio de suas formulações espacial e linguística, bem como das descrições dos chineses. Dessa leitura, num grau mais abstrato, serão objeto de reflexão situações de exercício de autoridade e de busca pela alteridade, marcando a atualidade dos gestos barthesianos de repulsa à primeira e de busca pela segunda. Os pontos de vista de Barthes serão contrapostos aos de seus colegas de viagem, que também reportaram suas impressões uma vez de volta à França. Como a China é apreendida pela trama textual das narrativas de viagem e pelo discurso dos membros do grupo? Quais aspectos convergem e quais divergem nesses múltiplos olhares sobre o mesmo objeto, o Estrangeiro, particularmente, chinês, num momento de autoritarismo político e ideológico?

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 intertextualistic phenomenon in preeti shenoy's life is what you make it, it happens for a reason and a hundred little flames

2021 ◽  
Vol 5 (S1) ◽  
pp. 70-82
Author(s):  
D. Pandeeswari ◽  
A. Hariharasudan ◽  
Nishad Nawaz
Keyword(s):  
Mikhail Bakhtin ◽  
Julia Kristeva ◽  
Roland Barthes

Postmodern intertextuality abbreviates the relation between the texts that has related to incidents, quotes, allusions, translation and so on. The aim of the study accolades on the postmodern tendency of intertextuality in Preeti Shenoy’s selected texts, Life is What You Make It, It Happens for a Reason and A Hundred Little Flames. Preeti Shenoy is a multifarious postmodern writer. The term intertextuality has linked with other texts. The features of intertextuality are quotation, scenes, characters, narration, allusion etc. The notable theorists of intertextuality are Julia Kristeva, Roland Barthes and Mikhail Bakhtin, and the present study has adopted the intertextual concepts from the considered theorists. The methodology of the study splits into four intertextual concepts -- description of a word, different circumstances link, language and dialogue. The first two concepts, proposed by Julia Kristeva, are description of a word and different circumstances link. Roland Barthes has proposed the intertextual concepts of language and dialogue. Mikhail Bakhtin also has proposed the intertextual concept of language. These intertextual concepts are adopted in the present study, and the authors have investigated the intertextual elements in the select texts of Shenoy. 

scholarly journals Roland Barthes et son Journal : de l’inclination à la délibération

2010 ◽  
Vol 45 (3) ◽  
pp. 129-150
Author(s):  
Valérie Stiénon
Keyword(s):  
Roland Barthes ◽  
Tel Quel

Résumé C’est à l’occasion d’une circonstance malheureuse, celle de la maladie de sa mère bientôt mourante, que Roland Barthes s’essaie à l’écriture diariste, à Urt en 1977. Cette brève initiation à l’écriture journalière devient rapidement un important sujet de réflexion : « Je n’ai jamais tenu de journal — ou plutôt je n’ai jamais su si je devais en tenir un », déclare-t-il en 1979, en ouverture de son article « Délibération » paru dans le numéro 82 de Tel Quel. La question, en effet, requiert pour le moins une délibération : tout se passe comme s’il s’agissait de trouver de nouvelles raisons de douter, quitte à déplacer la suspicion initiale sur le bien-fondé d’une pratique vers la mise en cause de sa valeur littéraire puis vers celle de sa « publiabilité ». À court d’arguments destinés à sauver le Journal d’une littérature sans preuves où le confinent sa valeur incertaine et sa redondance, la sinueuse délibération personnelle de 1979 ne parvient au mieux qu’à lui découvrir une littérarité douteuse, avant d’éluder la question de l’écriture diariste en l’orientant vers l’utopie d’un Journal idéal qui serait rythme et leurre, qui inscrirait dans l’idiorrythmie de sa structure une conduite de vie idéale et déjouerait les pièges de l’Imago. Cet article s’emploie à cerner les enjeux de l’écriture barthésienne du journal personnel afin de mettre en évidence son importance comme clé de relecture de la production du « dernier Barthes ». Digressive et intermittente, souple et expérimentale, l’écriture du Journal s’avère convenir à la « papillonne » d’un observateur du quotidien à qui elle offre les avantages d’une pratique personnalisée et cumulative de la notatio, à condition toutefois d’affranchir cette dernière de l’infatuation du narcissisme, non assimilable à la véritable subjectivité.

scholarly journals ROLAND BARTHES E AS REPRESENTAÇÕES DA ALTERIDADE

2015 ◽  
pp. 130
Author(s):  
Maria Luiza Berwanger da Silva
Keyword(s):  
Julia Kristeva ◽  
Roland Barthes

<p>Com base na leitura do texto <em>L’Étrangère</em>, de Roland Barthes, este artigo examina representações do estrangeiro emergentes da produção teórico-crítica desse intelectual francês. Considera sobretudo a figura do Outro mediada pela amizade intelectual e pessoal que estabelece com Julia Kristeva. Para tanto, o artigo evidencia a contribuição de Julia Kristeva para o avanço da Semiologia Francesa, representando-a pelo projeto de renovação de paradigmas semiológicos cristalizados que impedem, segundo Barthes, a valorização da diferença. Este artigo também estuda textos de homenagem de Julia Kristeva a Roland Barthes, neles sublinhando a crítica da reciprocidade como critério de valor e « noyau dur » da reflexão barthesiana. Assim, o presente artigo estabelece um jogo de cartografias intelectuais e afetivas entre os dois semiólogos que enfatizam a recepção favorável à Alteridade articulada pelo pensamento plural (nacional e transnacional) de Roland Barthes.</p>

scholarly journals Til sammenligning

2019 ◽  
Vol 47 (127) ◽  
pp. 111-130
Author(s):  
Rikke Andersen Kraglund
Keyword(s):  
Literary Theory ◽  
Julia Kristeva ◽  
Roland Barthes ◽  
Literary Texts ◽  
Middle Ground ◽  
Discursive Space ◽  
Broad Concept ◽  
Universal Feature ◽  
The One ◽  
Gerard Genette

Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors’ intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations. Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors’ intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations.  On the other hand, we have the more restricted view that focuses on specific, readily recognized signs of intertextual relations between literary texts. Gérard Genette offers a vocabulary to describe the interaction between only two identifiable texts. In this article, I shall propose a third alternative that takes the middle ground and investigate what a rhetorical approach to intertextuality means for the understanding of the concept of comparison.

scholarly journals Semiotik & Dinamika Sosial Budaya: Ferdinand de Saussure, Roland Barthes, Julia Kristeva, Jacques Derrida, Charles Sanders Peirce, Marcel Danesi & Paul Perron, dll.

2018 ◽  
Vol 15 (1) ◽  
pp. 127
Author(s):  
Suci Anggraeni
Keyword(s):  
Jacques Derrida ◽  
Charles Sanders Peirce ◽  
Julia Kristeva ◽  
Roland Barthes ◽  
Ferdinand De Saussure

Manusia adalah makhluk yang selalumencari makna dari berbagai hal yang ada disekitarnya. Oleh karena itu, manusia dapatdisebut sebagai homo signans (Danesi danPerron 1999 dalam Hoed 2014). Dalam hal inimanusia dipandang memiliki kemampuan untukmemberikan makna pada berbagai gejala sosialbudaya dan gejala alamiah. Dengan demikian,dapat disimpulkan bahwa tanda adalah bagiandari kebudayaan manusia (Hoed, 2014).

scholarly journals Sarduy, prisioneiro de Saint-Germain-des-Prés

2017 ◽  
Vol 19 (1) ◽  
pp. 56-63
Author(s):  
Edgardo Cozarinsky ◽  
Keyword(s):  
Roland Barthes ◽  
Ruben Dario ◽  
Severo Sarduy ◽  
Jose Lezama Lima ◽  
Tel Quel

Resumen En este trabajo, traducido por primera vez al portugués, escrito en 1999 e incluido en el libro El pase del testigo (2001), Edgardo Cozarinsky realiza una lectura crítica de la situación de Severo Sarduy en Francia desde una perspectiva que sólo él, como testigo privilegiado de esa experiencia o incluso como confesor, puede ofrecer. El objeto de esa crítica es la “vampirización parisiense” de Sarduy, aquella que lo volvió un “prisionero” del grupo Tel Quel (con excepción de Roland Barthes) y lo obligó a “representar el papel de Sarduy”, a traicionarse. En cambio, sostiene Cozarinsky, la auténtica voz de Sarduy debe leerse precisamente en esa zona que para tantos de esos parisinos resultaba ilegible: en el mestizaje étnico y cultural sostenidos en un gesto de simultáneas audacia y liviandad que conducen a la ruina de todo origen y toda meta, a una afirmación de lo cubano y lo latinoamericano cuya complejidad pone a Sarduy en una serie que nace con Rubén Darío y pasa por José Lezama Lima.

scholarly journals Studying the Place of Intertextuality in Iranian Painting (Case Samples: Qajar Era)

2016 ◽  
Vol 10 (12) ◽  
pp. 156 ◽  
Author(s):  
Panahi Siamak ◽  
Farazjou Forough ◽  
Majdi Shima
Keyword(s):  
Art History ◽  
Julia Kristeva ◽  
Roland Barthes ◽  
Community Art ◽  
First Time ◽  
Gerard Genette

Intertextuality studies are as one of the significant approaches in literature and art. This term for the first time was proposed by Julia Kristeva 60s and later it was expanded by persons such as Roland Barthes, Gerard Genette & et al. Nowadays we are living in a world which is full of texts and these texts are born in it, grow and finally give their place to other texts but they aren’t disappeared. These texts are knotted to each other with intertextuality rules and they have interaction with each other. They sometimes deny or confirm each other but any way they influence on each other. In fact existence of sign world and existing texts and their effects in creation of each artistic effect are inevitable.This paper intends to consider the applicable studies of intertextuality in Iranian community art by concentrating on Qajar era painting. And it refers to the role of intertextuality in producing and reading the works by studying the case samples.The methodology in this research with review of art history and due to the analyses done on the works (sample to sample) will be analytic-descriptive according to the allegorical method.

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